Yamaha has been on the leading edge of digital mixer technology for more than a decade, producing mixers with audio production power that belies their small size. Yamaha’s flagship DM2000 mixer continues this tradition, offering impressive capabilities in a compact package.
In addition to its role as a mixer, the Yamaha DM2000 is designed to replace a number of outboard components typically found in the recording studio. These components include patch bays, effects units, dynamic processors and equalizers. Integrating the features of these devices into one unit does more than just make the digital mixer an inexpensive way to replace a room full of gear—it can also deliver a significant sonic benefit.
The Yamaha DM2000 is a console whose initial intended use was post-production mixdown in studios. Savvy buyers have been purchasing the DM2000 for live frontof- house applications, however, causing Yamaha to widen its target market for the mixer. It is from the perspective of a FOH application that this review is written.
At the Helm
Even the most accomplished FOH sound engineers will be removed from their comfort zone when first viewing the DM2000. Its array of faders, knobs, buttons and displays is more akin to something you’d find on the bridge of a starship than a sound booth. Even the 25 long-throw (100mm) faders, which should be familiar and comfortable, hold hidden powers. They’re motorized, touch-sensitive, and multi-purposed to the extreme. Note I purposely did not use the term “channel faders” to describe the DM2000’s faders. The routing flexibility of this console allows any fader to control any channel input, group bus out, aux bus out, or effect out.
If that doesn’t sound like much, consider that this console supports eight group busses, 12 auxiliary busses, four matrix busses and up to 96 input channels. Control over this range of elements with just 24 faders is accomplished by organizing their access into five layers; input channels sit on the first four layers, and group busses, aux and matrix sends are on the fifth. Each layer is selected with the touch of a button.
There are also four additional layers used to control remote devices. It’s entertaining to watch the faders recall their pre-programmed positions as you cycle through the various layers. This console cannot be approached with a “channel strip” mentality; to do so presents a stumbling block to fully understanding its capabilities.
The DM2000’s control surface is laid out in 27 functional areas, each trimmed with an inked border. Most areas provide a Display button used to send that function’s parameter data and various menu options to the mixer’s 320x240-pixel LCD display. Also found in each functional area are the various push-button switches, display indicators, and rotary controls (if necessary) used to modify that function’s parameters. The only area lacking a Display button is the analog input section, which provides the familiar trim potentiometer, signal and peak LEDs, 26-dB pad switch and phantom power switch. An Insert switch is used to place the insert in signal from the rear panel into the signal path.
Ins and Outs
As with any digital console, analog I/O [Input/ Output] on the DM2000 is still necessary. The base model provides 24 superlative preamps. Access to them is via XLR or ¼-inch TRS jacks on the rear panel. Also provided are 24 nonswitched, post-preamp/pre-fader ¼-inch TRS insert outputs (suitable for use as direct outs), and 24 switched TRS returns. The DM2000’s internal effects and dynamics processing capabilities mean you’ll probably never need outboard effects, but the inserts are nice to have should a need arise. For our testing, we used the insert outs as the signal source for our in-ear personal monitor system. Other analog inputs include balanced ¼-inch jacks and RCA phono stereo sets for tape decks, DVD/CD players and other stereo music sources.
Analog outputs include stereo mains (XLR and RCA phono), studio monitor (balanced ¼-inch), and two sets of stereo control room monitor outs (XLR). The DM2000 also has available analog output in the form of eight “omni” outs on balanced ¼-inch jacks. The unit’s output routing capabilities allow each omni out to be programmed to carry a number of different signals such as aux out, direct out, etc. If the standard I/O capabilities are insufficient, the DM2000 provides six expansion card slots able to accept a wide variety of analog I/O, digital I/O, or effects modules from Yamaha and other third-party vendors.
Digital signal I/O is provided on two sets of AES/EBU jacks (XLR) and one set of S/PDIF (RCA) connectors. Digital referencing inputs and outputs include time code via SMPTE (XLR) or MTC (5-pin DIN), and word clock on one input and two outputs (all BNC).
The remaining I/O connectors include various jacks for connecting the DM2000 to a computer, MIDI gear, external keyboard, remote transport control, optional MB2000 peak meter bridge and more. Cascade in/out connectors (HD 68) allow up to four DM2000s to be integrated into one multiunit mixing console. You can also slave a Yamaha O2R console to the DM2000 for additional capabilities.
In Use
The array of features in the DM2000 is so extensive that this short review simply can’t do them justice. Instead, we’ll take a look at a few of the DM2000’s more notable features.
- Each input and output has dynamics processing and four-band EQ standard.
- The DM2000’s matrix routing allows you to set up a 22x8 matrix with flexible output routing.
- Fader grouping maintains relative levels across multiple faders when one is moved, and groups can span multiple layers.
- Internal effects include six 31-band graphic EQs that can be placed on any output.
- The DM2000 can control up to eight recording devices via MMC (Midi Machine Control), Sony P2 or MLAN (with optional card).
- Channel copy, a very thoughtful feature, makes it easy to clone channel settings.
- Another nicety is the DM2000’s bank of 16 user-defined keys, which can be configured to perform any number of tasks.
Exclusive "Only On The Web" Content At this point it would be nice to follow the signal path and describe each function in turn. Unfortunately-or perhaps fortunately--there is no straightforward signal path with the DM2000. This console provides the ability to route virtually any signal in any direction, within limits. Instead of following the signal path, we'll review the remaining functions based on the physical location of their controls on the mixer's surface. SmartMedia Card Slot Matrix Select Aux Select Fader Mode Encoder Mode Display Access Pairing is similar, but is established only between two adjacent faders-the resulting pair is treated as a stereo whole. Any parameter (i.e. EQ, compression, etc.) applied to one member of the pair is automatically applied to its partner. The DM2000 also affords the ability to pair across layers (i.e. channel strips 24 and 48 can be paired members). We utilized both these features during our evaluation. We grouped our choir vocals and drum mixes, and we paired our CD/Tape inputs across layers. This pairing allowed us one additional fader on our primary layer, allowing us to do a minimal amount of layer switching during performances. Effects / Plug-ins Channel Strips Display Section Routing Phase/Insert Delay Aux/Matrix Send Dynamics/Gate/Comp Pan/Surround Equalizer Channel Copy Layer Select Stereo Bus Monitor Phones and Talkback Monitor Section Track Arming Scene Memory Auto Mix User-Defined Keys Locator Data Entry and Transport The wheel can also be used to adjust the selected parameter. |
It’s to be expected that a system with such expansive capabilities and numerous control elements would present a modest learning curve. Our initial experiences with the DM2000 left us frustrated, sending us back to the mixer’s manual. We tried again, better equipped to appreciate the ergonomic engineering applied to the layout of the control surface and menu system. Relying on the DM2000’s print and online manuals, one of our less-technical team members got up to speed quickly on the mixer. This is a testimony to Yamaha’s well-conceived interface design and common control surface.
If there was any one thing I found disappointing during the course of this review, it would be the DM2000’s manual. As is often the case with manuals for complex systems, it is some what disjointed. I found myself having to navigate back and forth between largely separated pages to acquire a clear understanding of a particular function. The manual is also written to the level of the initiated, making the lack of a quick start guide all the more unfortunate.
Sold!
Upon getting the DM2000 installed and connected, I was awed as I listened to the results. We had replaced our 24-channel analog FOH mixer and processing rack, and were now putting the unit through its paces during our praise band’s practice session. Being an electrical engineer, I’m well-versed in the components found in an analog or digital system. So I was at a momentary loss to explain how the quality of sound could be so drastically improved by the change-out of a sound console, digital or otherwise. I then looked at the pile of interconnect cables on the floor, the discarded processing rack full of various vendor’s products and the reasons became completely obvious. Signals are handled with 32-bit perfection at a 96-kHz sampling rate inside the DM2000, delivering audio performance no hodge-podge of analog gear can touch.
In short, this writer is most impressed with the DM2000. Having researched digital consoles for use in our facility, we found no other that matched it in price and performance. Though it will likely be some time before we fully utilize and master all of the DM2000’s capabilities, we paid Yamaha the highest complement—we bought the evaluation unit.
