Post-Fader Direct outs on LS9

[Arran]

@TomBoisseau

Arran,

What is involved in figuring out these codes? Can you teach me how to do it, or is it just way too complicated?

I want to come up with “Auto mute mix sends on fader drop” also for the 01v96i?

I also want to come up with codes for BOTH the LS9 & 01v96i where you have pre fader direct outs ONLY when the fader is all the way down, but then the direct outs are muted when the fader is brought up. This is desirable when doing certain type of TV shows where the the control room wants to hear host’s, mic even when the board’s faders are all the way down, say between shows or between takes. Of course for this to work you would usually have the direct outs routed to a powered speaker separate from the “show mix” in the control room.

Thanks,
Tom

It’s not complicated, but for me at least there’s a bit of trial and error involved.
In Bome’s Midi Translator click the left hand “+” sign on the tool bar to create a translator preset, then click the right hand tool bar “+” sign to add a new translator. Double click the translator and on the “incoming” tab you’ll see a tick box “Capture MIDI”, tick this and move a fader on your desk and you should see the midi values in the window.
From memory how the desk is set up to transmit midi will determine how these values are displayed, so it’s worth experimenting with the various options on the desk.
If not displayed as such you need to change the parameters that vary (like fader level) to variables; pp, qq, etc… don’t forget to move a different fader to establish which 2 digit number represents the channel number, this should also be replaced with a variable such as ‘dd’. it’s possible that the letters you choose don’t need to be different for different parameters, but for me it made it easier to ensure they were in the right place on the corresponding outward string.
Does that make sense?

[Andy]

Additionally, Tom, there are spreadsheets from Yamaha detailing all the “Parameter Change” messages, but really, Arran’s method is much simpler to follow.

[TomBoisseau]

Thanks Aaran,

I need to take some time and see what I can do with this. By the way, I already have some of the codes that you worked out. So I can be consistant, I’d like to know what letters you used and assigned to what variables (assuming of course that you were consistant).

Looking at the other codes the only variables I see are:

oo
qq
pp

I’ll probably figure it out when I start expermenting, but would you be so kind as to tell me what functions do these variables represent?

Thanks again,
Tom

[Arran]

There wasn’t any attempt made at consistency, all I did was made sure that if the sixth set of parameters in a string was a variable, and I replaced that variable with a pair of letters representing a continuous variable, then I’d use the same letters in the same position in the outgoing string, and would choose a different set of letters for other positions in the string for ease of identification.
As for the variables you’ve quoted I can’t remember what they were assigned to. oo is not a specific variable (fader level for instance) it just represents whatever the variable is at that position within the string.
Once you start experimenting with this you’ll see it’s actually a lot simpler than my attempts at explaining it. When you move a fader on the desk you’ll see a lot of parameters change - these are the fader level variables, when you move the next fader up you’ll see a previously static parameter increase by 1 - the fader channel id, you can replace this parameter with a variable as well so that you don’t have to write a translator for each channel.

[TomBoisseau]

Thanks Arran,

I really need to spend some time working on this stuff. Probably next week. This week I need to finish working on my 2011 taxes!!

Thanks so much for all your help. It’s beginning to sound manageable.

Tom