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Offline chrisNova777

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Yamaha aw4416 (2001?) professional audio workstaton
« on: October 17, 2017, 01:12:33 PM »


http://www.mixonline.com/news/profiles/yamaha-aw4416/375542

https://www.soundonsound.com/techniques/yamaha-aw4416-user-tips-part-1
https://www.soundonsound.com/techniques/yamaha-aw4416-user-tips-part-2
https://web.archive.org/web/20061205023921/http://y96k.com:80/
https://web.archive.org/web/20061110193616/http://www.y96k.com/htmls/y56k_card.htm
https://www.zzounds.com/item--YAMY56K
https://web.archive.org/web/20061110193616/http://www.y96k.com/htmls/objects/pdf/documentation/doc_availability_y56k01.pdf

https://www.rapmag.com/a/2000s/87-01/sep01/2099-test-drive-yamaha-aw4416-workstation
https://www.rapmag.com/a/2000s/87-01/sep01/2099-test-drive-yamaha-aw4416-workstation?showall=&start=1

Quote
GOZINTAS AND GOZOUTAS

There are eight analog inputs in the AW4416. Inputs 1 and 2 on the rear-panel jackfield sport both XLR and TRS connectors with insert points. The remaining inputs just have TRS jacks, but their levels range from -46 to +4 dB, still good enough to function as mic preamps. (Yamaha used TRS jacks to save space.) This arrangement works if you have a patch bay and the necessary cables, but I’d hoped for the option of plugging all my mic cables directly in to the AW4416. However, the layout is common on these combo boxes so I wasn’t too disappointed.

All channels feature dedicated trim pots and peak LEDs on the top panel. A rear-mounted switch handles phantom power for inputs 1 and 2, but I wish there was a status LED to tell me if phantom was on.

Input-channel 8 has a second unbalanced 1/4-inch jack for electric guitars, basses, and other electric instruments. I checked this out right away. I plugged in my trusty Rickenbacker 330 and inserted an amp-simulation effect from one of the onboard processors. The quick-and-dirty crunch sounded pretty good, though it wouldn’t fool a purist.

Directly below the inputs is a pair of RCA tape-out jacks, four unbalanced 1/4-inch Omni assignable outputs, and a pair of +4 dBu balanced TRS monitor outs. Why does Yamaha use both balanced and unbalanced connections? Again, it’s common in a product intended for both pro and consumer markets.

Rounding out the rear panel are two option slots for adding more I/O, a stereo headphone jack, S/PDIF in and out, word clock in and out, jacks for a footswitch and a 9-pin mouse, a serial connection for a pre-USB Mac or a PC, and a SCSI port. There’s also a trio of MIDI jacks.

As we’ll see, you can directly tap any channel signal and send it virtually anywhere in the recorder, or route any of 50 different signals to the mixer’s four Omni outputs. The AW4416 has a full-blown digital patchbay under the hood — a good thing, considering how many channels of digital audio can flow through the AW4416 at any given moment.

The unit’s routing capabilities become extra important when you add digital or analog I/O cards into the aforementioned two expansion slots. Available cards include ADAT lightpipe (eight channels of input and output), TASCAM TDIF digital (eight I/Os), AES/EBU digital (eight I/Os), XLR analog (four in or four out) and TRS analog (eight in).

You can mix and match formats in the slot cards as well. For example, you could add one card for ADAT lightpipe digital I/O, and pick up an additional eight TRS analog inputs from a second card in the other slot.

Quote
THE FRONT PANEL

A glance at the front panel reveals the AW4416’s heritage. If you’re familiar with Yamaha’s digital mixers, particularly the 02R, you should feel right at home.

The AW4416 presents a lot of information in a small space. Measuring approximately 3-1/2 by 4-1/2 inches, the main backlit LCD display handles everything from track info to information about routing. Each screen provides several pages of information, and there are three ways of accessing the different pages: pressing a selection button repeatedly, pressing function keys immediately below the main display, or using the optional mouse. A second display is dedicated to showing levels for the recorder tracks and main outputs, counter location, clock source, and other useful details.

The unit has more than a hundred buttons and knobs, including four knobs dedicated to hands-on control of pan and parametric EQ. Some buttons control seemingly unrelated functions; for example, the EQ button also accesses pages for fader and mute groups. Likewise, the Dynamics screens contain pages for channel polarity and track offset. It may take a while to get used to this sort of multilevel functionality.

The 60 mm motorized faders serve a variety of functions, operating inputs 1 to 24, aux sends or returns, and returns from the recorder. Change a scene or mode, and the faders instantly jump into position, eliminating any doubt about their settings. And let’s face it, moving faders (even short ones) are great fun to watch. Finally, these are noticeably quieter than faders on other Yamaha digital boards — they don’t exhibit the clatter of the older ones.

4416-routing

PATCH ‘EM HERE AND THERE

Flexible signal routing is the AW4416’s key strength. Mixer input choices include those you’d expect — analog inputs, S/PDIF in, the sampling pads, and any option slot inputs.

The multiplicity of output routing options conjures up some interesting scenarios. You can use the option slots to transfer all 16 tracks to a pair of ADATs, which lets you archive your tracks to inexpensive S-VHS tape and to send them to another studio, for example. You can route an aux send through S/PDIF to and from an outboard effects processor and use the main outputs as an extra headphone mix.

Up to 20 routing maps can be stored for instant recall. This is handy if you’re faced with numerous patching situations in your daily routine. Unlike user patches for scenes, EQ, dynamics, and effects, which are saved as song data, the routing libraries are always available.

4416-input setup

RECORDING

Thanks to the default busing assignments, basic recording tasks are relatively painless. The defaults may be all you will ever need, but almost any kind of busing and routing option is easy to set up and store for later recall.

The transport section features friendly tape-style controls. A matrix of buttons manages loops, auto punch, and up to 99 locate points per song. Auto punch is easy to use: I was able to set punch-in and punch-out points, then roll back and fix a mistake in less time than it took to write this sentence.

The AW4416’s Quick Record mode makes recording trouble free: pressing one button arms all 16 tracks and routes the inputs directly to the recorder, with a choice of inputs from the analog jacks or the option slots. This gave me a very fast method of getting VO tracks and music beds recorded.

Each of the 16 physical tracks has up to 8 associated virtual tracks, and there is a separate stereo track for the finished mix. As with other virtual track schemes, the theory here is that you’ll do multiple (or alternate) takes of a given part and choose the best one for playback. With some effort, you can comp together sections of different virtual tracks into one “keeper” track. Of course, only one virtual track may be played at a time for each physical track.

Up to 30,000 songs (or what most of us know as Projects) can be stored on the internal drive. A song is stored as a proprietary form of .WAV file in the AW4416, but recent software updates now let you export from a track to a standard .WAV file. The 12 GB disk that came with my unit afforded about 140 minutes of 44.1 kHz recording time at 16 bits. And while the external SCSI jack on the back of the recorder shows promise for expanding recording time, it can currently be used only for backing up and restoring song data, while the CD-RW drive can be used for mastering audio CDs, backing up/restoring songs or importing CD tracks and WAV files.

On the software side, the AW4416 offers an impressive list of capabilities. Most notable is the system’s automation recorder — a direct descendant of the software found in the 02R mixer. It allows easy automation and editing of fader positions, pan, EQ and aux send settings. It also recalls any of the AW4416’s 96 scene memories (per song), as well as effects, dynamics and other setting libraries. Automation data is saved with each song, there’s virtually no chance of maxing out the AW4416’s automation memory.

The 16 sample pad buttons can be assigned to play digital audio clips (up to 90 seconds total). A simple sequencer keeps track of when pads are pressed down and released. Pad outputs show up at the AW4416’s digital patchbay, and can be routed to any mixer or recorder channel.

Other features of the AW4416 include tempo and meter maps, a fully routable metronome, 99 markers per song, good locate functions, multilevel undo, fader and mute groups, automatic crossfade between regions, and user-controlled dither and bit-depth settings.

« Last Edit: October 30, 2017, 11:27:15 PM by chrisNova777 »

Offline chrisNova777

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Re: Yamaha aw4416 (2001?) professional audio workstaton
« Reply #1 on: October 18, 2017, 12:36:07 PM »
http://faq.yamaha.com/us/en/article/music-production/recorders/aw4416/2003/1459/using_the_aw4416_as_a_midi_controller_for_pro_tools
https://usa.yamaha.com/files/download/brochure/1/323901/aw4416_en_01.pdf

https://web.archive.org/web/20020124085516/http://aw4416.com/
https://web.archive.org/web/20011224014328/http://www.aw4416.com:80/e/faq/faq.html
https://web.archive.org/web/20020414091021/http://www.aw4416.com:80/e/download/download.html

software update:
https://web.archive.org/web/20020607164025fw_/http://www.aw4416.com:80/e/download/ver_up.html

Quote
Last Update: 01/13/2004

The Version 2 Operating System software for the AW4416 adds the capability to use the AW4416 as a MIDI controller. With the version 2 software installed the AW4416 has 4 banks of remotes that are completely programmable. As long as the software that is being used can be controlled via MIDI the AW4416 can control common functions such as fader levels, mutes, panning, etc.

In order for the AW4416 to be used with Pro Tools by Digidesign, it will be necessary to program the AW4416 to emulate a JL Cooper CS-10 Professional Control Station™ which uses the standard MIDI protocol and transmits on MIDI channel 16. This is due to the fact that Pro Tools does not have a dedicated template for the AW4416 but it is configured for the JL Cooper CS10 which is often used with Digidesign professional digital audio editing systems and software.
Connect the MIDI Out of the AW4416 to the MIDI In of either the computer's MIDI card or MIDI interface.

Configuring Pro Tools:
Select 'CS10' in the MIDI Controller section of Pro Tools under Peripherals.
Set the number of channels to 8.

Configuring the AW4416:
Press the [MIDI] button repeatedly until the 'Remote A 1-8' screen is displayed. Click here to view.
Use the Up Button, Down Button, Left Button, and Right Button 'CURSOR' buttons to select the 'DISABLE' button in the LCD for Remote 1-8.
Press the [ENTER] button. The 'DISABLE' field should change to 'ENABLE'.
Repeat this for Remote 9-16.
Press the [SEL] key above fader 1. In the LCD screen below 'CH1 VOL' there is a string of MIDI commands for the fader.
Use the Up Button, Down Button, Left Button, and Right Button 'CURSOR' buttons and the (DATA/JOG) dial to replace the existing MIDI commands in the 'FADER' section with the string "BF 40 FAD END".

NOTE: B specifies that it is a control change message; F specifies MIDI channel 16; 40 specifies the control change number; and FAD specifies that it will send varying values depending upon the fader position.
Use the Up Button, Down Button, Left Button, or Right Button 'CURSOR' buttons and the (DATA/JOG) dial to replace the existing MIDI commands for the 'ON/OFF' (Switch) button, located immediately above the 'FADER' section, with the string ''BF 00 SW END".
Repeat steps 4-5 for faders 2-8 using the following table:

Channel
MIDI Command
Fader
Switch
1
BF 40 FAD END
BF 00 SW END
2
BF 41 FAD END
BF 01 SW END
3
BF 42 FAD END
BF 02 SW END
4
BF 43 FAD END
BF 03 SW END
5
BF 44 FAD END
BF 04 SW END
6
BF 45 FAD END
BF 05 SW END
7
BF 46 FAD END
BF 06 SW END
8
BF 47 FAD END
BF 07 SW END

NOTE: This sets up the AW4416 to control 8 faders and mutes at a time like the CS-10 which also controls 8 faders at a time and switches between fader banks. The On/Off keys of channels 9-10 in Remote A of the AW4416 can be programmed to transmit the MIDI messages that the CS-10 uses for bank up and down messages. The MIDI message for bank down would be 'BF 1C SW END'. The MIDI message for bank up would be 'BF 1D SW END'. By programming the On/Off keys, bank up and down commands can be transmitted to as many as 32 channels controlled by the AW4416.

TIP: For more information on this subject log on to www.digidesign.com and download the PDF document entitled MIDI Controller Guide.
« Last Edit: October 24, 2017, 08:02:49 PM by chrisNova777 »

Offline chrisNova777

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Offline chrisNova777

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Re: Yamaha aw4416 (2001?) professional audio workstaton
« Reply #3 on: October 24, 2017, 08:10:36 PM »
Quote
O2R Technology & Features Taken to the Next Level

      
A Direct Descendant Of the O2R ... Plus Some...
The Yamaha O2R Digital Mixing Console has become the de-facto standard in all areas of sound recording and production. The AW4416 gives you all of the O2R's quality and features and more in an integrated audio workstation. Internal processing is 32-bit (except for the EQ stages, which use 44-bit processing) for extraordinary resolution and reproduction realism. And, of course, the very latest refinements in digital audio technology have been added to bring you stunning sonic quality throughout.

Large-console Input and Output Capability
For it's size the AW4416 offers a surprisingly large complement of input channels and output buses. Out-of-the-box you have 8 analog inputs plus digital stereo inputs. Then, with optional I/O interface cards you can add up to 16 more analog or digital channels. Add the 16 playback channels from the hard-disk recorder, and effect returns, and you have a total of 44 input channels to handle even large recording projects. On the output side you have 8 group buses, 8 auxiliary buses, a stereo bus, and stereo solo bus for a total of 20 outputs which offer plenty of flexibility to handle just about any application.

Powerful EQ and Dynamics on All Channels
With the exception of the two stereo effect returns, main stereo outputs and the remaining 40 input channels all feature the same powerful 4-band full-parametric equalizer and dynamics processing as the O2R. The effect returns offer 4-band parametric EQ without dynamics processing.

Full Mix Automation
Faders, pan, EQ and more: the AW4416 offers full automation for precision mix control. 17 x 60-mm motor faders provide an accurate visual level reference, and there's never any need to match "dumb" faders to the actual mix levels. Add scene memories and a number of recallable parameter libraries for automation and convenience that only a state-of-the-art digital workstation can provide.

Beyond the O2R
In addition to a number of refinements that you won't see but might hear, the AW4416 features two brand new multi-effect processors offering ambience effects such as reverb and delay, modulation effects including flanging, chorus, pitch change, and rotary-speaker simulation, and even a number of guitar-oriented effects like distortion and an amp simulator (we've even added a hi-Z input specially for guitar). The effects can be used in send/return mode or inserted into any of the input channels and the stereo bus. Furthermore, all AD and DA converters are top-quality 24-bit types for unsurpassed overall sound quality, and a "virtual patchbay" offers unprecedented flexibility in routing mixer inputs and outputs.

https://web.archive.org/web/20021009035951fw_/http://www.aw4416.com:80/e/product/02r_inside.html

Offline chrisNova777

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Re: Yamaha aw4416 (2001?) professional audio workstaton
« Reply #4 on: October 24, 2017, 10:43:21 PM »




Offline chrisNova777

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Re: Yamaha aw4416 (2001?) professional audio workstaton
« Reply #6 on: October 30, 2017, 11:13:02 PM »
https://usa.yamaha.com/news_events/2004/20040501_waves-y56k-plugin-card-recording-magazine-may-2002_us.html

introduced in 2002 : the y56k card


Quote
The Waves Y56K is an expansion card for Yamaha's AW4416 and AW2816 all-in-one recorders. It provides powerful DSP processing via Waves's famous plug-ins, and includes the True Verb reverb, L1 Ultramaximizer, the Renaissance Equalizer and Compressor, the Super Tap delay, and the Waves De-Esser. The Y56K also provides A DAT optical I/O jacks for 8 channels of 24-bit digital transfer.

Installation
The Waves Y56K card goes into one of the Mini-YGDAI slots on the AW4416 or AW2816 (but isn't compatible with the 01V digital mixer). We installed it in the single mini-YGDAI slot of our AW2816 (reviewed 3/2002).

The Y56K requires the 1.1 firmware version for the AW2816 and the 2.0 firmware version for the AW4416, present on all units currently shipping from Yamaha. The Waves card is unrecognized under older firmware versions, but the firmware can be updated via a CD-ROM disc, sent at no charge to owners of older units. We were able to install the upgrade on our test machine with no snags - even though Yamaha provided us with a one-off early-release CD-ROM that didn't yet have a manual with AW2816-specific details.

The physical installation of the card requires removing the panel covering the Mini-YGDAI slot, firmly seating the card in the slot, and then securing the card's backplate with the included screws. The process is simple but requires a bit more force to seat the card than is common with this type of installation.

Once the card is installed and the firmware updated the Yamaha AW's software automatically acknowledges its existence, and you're ready to roll.

In use
Operation of the Waves Y56K card is pretty simple. Select the channel into which you want to insert an effect and hit the View key to display that channel's information. Scroll over to the Effect Insert box, highlight the Assign box, and hit Enter. This will display the effect insert settings box. You have the option of inserting the AW's built-in effect processors, an "external" effect (in this case, the Waves card), or no effect at all.

Select External, and then route the send and return of the insert to one of the eight Banks in the Waves card (SLT-1 for our example). Then you press Patch and select the plug-in screen to activate and tweak the processors.

The first screen you see from Waves displays the 8 Banks, each with 5 boxes to install plug-ins into. There are two columns of options besides the 5 boxes. SRC (source) selects between processing internal AW tracks and using the ADAT I/O, and Grp selects Mono or Stereo.

The Plug-ins
True Verb: True Verb is Waves's premier reverb processor and has been a staple of DAW setups for quite a while now, thanks to its excellent room simulations. The AW version provides a graphic display giving a representation of the room sizes, with controls for reverb time, dimension, distance, input gain, predelay, balance, absortion, and separate controls for HF and LF adjustments and a HP filter.

L1 Ultra Maximizer: Waves's famous brick wall limiter has threshold, release, and output celling adjustments. The L1 also has IDR (Increased Digital Resolution) dither with adjustable output bit rate, dither type and noise shaping.

Renaissance Compressor: The Ren-Comp provides a simulation of classic optical compression. It has control for threshold, ratio, gain, attack, release. There is also an autorelease mode, a Warm preset (for simulated tube warmth) and an Electro setting that switches between emulating an optical compressor or a VCA-based compressor.

Renaissance Equalizer: The Ren-EQ is a digital emulation of high-quality analog eq. It provides 6 bands of eq, all fully parametric, with gain, frequency, and Q adjustments and filter typesthe bottom three have highpass, bell and low shelf types and the top three high shelf, lowpass, and bell.

Super Tap Delay: The SuperTap Delay provides a very powerful and flexible multitap delay effect. There is a pan graph for displaying the location and amplitude of the individual taps, a frequency modulator, output gain control, individual control of the taps (on/off, gain, delay time, and rotation), filtering, feedback, and a delay grid that diplays the delay times in BPM and milliseconds. The SuperTap delay provides a maximum delay time of 1.2 seconds.

DeEsser: The DeEsser provides quality sibilance control. There are controls for threshold, attenuation and output display, an option for wideband or split-band compression modes (split provides two-band multiband compression), a sidechain filter frequency control, a sidechain filter mode control (highpass or lowpass) and an option to monitor the side chain input or the processed signal.

ADAT and such
The Y56K also has 24-bit ADAT optical input and output. The signal being processed always appears at the ADAT outputs and routing inputs is simply a matter of changing the SRC column of the Waves control screen to ADAT.

So…
To say that the Waves Y56K plug-ins sound just like their TDM (Time-Division Multiplexing, Digidesign's hardware plug-in standard) equivalents would be accurate, considering the DSP chip used in the Y56K is the same as the one used in TDM systems. All the processors are high-quality without any digital graininess or grunge.

The Waves Y56K expansion card gives the AW4416 and AW2816 some serious top-level processing to complement their already extensive feature sets. If you're looking for a way to get the benefits of some famous processing plug-ins without using a computer, the impossible has just become easy.

Price: $1049

More from: Yamaha Corp. of America
6600 Orangethorpe, Buena Park, CA 90620
714/522-9011, fax 714/522-9522
www.yamaha.com

Excerpted from the May edition of RECORDING magazine.
©2002 Music Maker Publications, Inc. Reprinted with permission.
5412 Idylwild Trail, Suite 100, Boulder, CO 80301
Tel: (303) 516-9118 Fax: (303) 516-9119
For Subscription Information, call: 1-800-582-8326