VTypeV4

My old Ashton BV was excellent especially considering it was a budget item.. Sold to Dave Hux on here and he loves it too.

A review of the Yamaha 02R digital mixing console.. [URL=http://s778.photobucket.com/user/VTypeV4/media/FullSizeRender4_zps01cca32b.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/FullSizeRender4_zps01cca32b.jpg[/IMG][/URL] [b]Overview:[/b] One of Yamaha's old range digital mixers offering 16 / 24 analogue inputs as well as an additional 16 channels via digital / analogue inputs using the card slots on the rear. Mine has all four option cards filled with two ADAT cards, an AES/EBU card and a cascade card allowing two 02R consoles to be linked together. The console as 8 assignable audio buss / sub-groups and 8 Auxes although two are assigned to the dual SPX style internal FX units. Everything you'd expect from a much larger framed console as well as a rack full of outboard gear. And flying faders plus a save facility of course! [b]Features:[/b] Every input channel has the following: Digital attenuation Phase invert Odd numbered channels assignable as pairs / Mid-Side processing Panoramic control 4 band fully parametric EQ with top and bottom bands offering band-pass / shelving and LPF / HPF options. All bands + / - 18dB Assignable mute groups Assignable fader groups Assignable sub-groups Dynamics offering gate / compressor / limiter / expander with side chain inputs All auxes swichable pre / post Output delay time in samples / MS Inputs 1-8 are jack / XLR balanced ins with switchable 48v pantom power and a switchabe 20dB pad. Inputs 9-16 are jack only balanced ins not offering phantom but still have the pad LEDs show signal present (green) and overload / clipping (red) next to the gain pots Each group output plus L/R has full Dynamics and full EQ also. The analogue outputs (studio out, control room out, two track out, auxes 1-6 out) are all balanced jacks with the exception of the L/R master which is a balanced XLR pair. In addition to the analogue outs, a number of digital outs are provided in the shape of a phono connector for S/Pdif connection and an XLR for AES/EBU. As a default, these mirror L/R which is handy for connection to my soundcard. On the control surface, each channel (1-16 and 17-32 plus stereo / group and L/R) has an on / off and select button both with a backlit LED so show the status of each. Above the current mix faders are a row of rotary encoders to manipulate whichever fader / channel layer isn't in use. A dedicated pair at the right hand end deal with the FX returns. A channel routing section is provided with backlit LED buttons for groups 1-8, L/R and direct out although it's easier to set routing on the 'routing' page in the menu system if you're not in a rush. There's also a deicated aux send section too with all the aux select on buttons, and a send knob plus an on / off. To be honest, the send on faders is quicker unless you have the channel you want to send already selected. On the opposite side of the console are the navigation buttons which are split into three sections of 8 and are colour coded. The first set (grey) control scene memory and desk setup / confiiguration and all the niitty gritty so to speak. The orange group control all the mixing facilities such as EQ, dynamics, pan and routing controls. Usefully, there's a view button to show the status of all parts of the selected channel. I usually stay on this page as it's handy to keep an eye on everythiing thats happening at a glance. Lastly, are a set of aux buttons that give access to the send on faders facility including the FX. As mentioned above, my console has two ADAT cards allowing 16 direct outs as well as 16 ins on dual light-pipe connectors. I use the inputs as audio channels 1-16 from my soundcard for mixing. I also use the card as the wordclock master to sync the 02R. [b]Sound Quality:[/b] Having read contradictory reports about the 02R from 'sonic perfection' to 'un-useable' I thought I'd best find out myself. There's absolutely nothing wrong with the quality of the Yamahas sonics, it sounds at least as good as my old A & H which still sounds fine to these ears. There is a slight character difference between the Soundcraft 328XD and the Yamaha but the XD has the 'sounds like a Soundcraft' thing going on. They're just different not better or worse. A limitation of the Yamaha is the digital 20 bit / 48Khz resolution but I can't hear the difference between this and 24 bit converted audio if I'm honest. The console runs at 32 bit internally. It has the option to run 24 bit in/out but you have to halve the channel count which I'm not willing to compromise. The dynamics work pretty much without imposing their own characteristic on the signal ie, you hear the signal and not the compressor so to speak. The compressor is happy to work with just a bit of gentle squeeze or if you really need to slam something to get it under control, it's more than happy to oblige. If I need a 'character' compressor, I'll use an 1176 or such similar in Pro-Tools. I haven't mentioned the gate as the gate simply works as such. SPX style FX units are always welcome as I used to use a pair of SPX90 with great results. Whats even better is the internal processors in the 02R are quieter, seem to have more options as well as a more transparent execution when applied to mix channels. They are pretty much on par with the dual Lexicon units in the Soundcraft console. [b]Build quality and reliability:[/b] The build is excellent: Thick metal panles, decent and hard paint, sharp and bright LCD screen, solid fader movement and feel, encoder and gain pots are well damped and smooth. It has never crashed or siezed up either. Superb. The only issue I had was with the power supply which had a (very uncommon apparently) bad failure and not only wrecked itself but took out a number of the A/D chips on the input side. This manifested itself as the desk blowing it's main fuse when trying to fire it up one day. Thankfully the repair man managed to rectify the supply issue and it's connector and also replace the fried chips to bring the desk back to full working order. [b]Bad bits:[/b] The biggest criticism I can level at the 02R is it's operating system and navigation around it's features. Some parts and options you would expect to be together aren't and are infact at opposing ends of the menu system. This is a pain when learning the console and makes it just that little bit more difficult to get things like templates and setups together when configuring the desk. Becuase everything is entirely menu driven and run by the jog wheel and curser buttons, you can only ever go so fast even when you know where the control you need to manipulate is hidden. Having said that, I can still get round this faster than I can the Mackie DL1608 or an LS-9. Oh and it's unreasonably heavy too, there's a giant heatsink in the middle to keep it cool. It does it's job nicely. [b]Final thoughts and observations:[/b] Buy the meter bridge if you're planning to use multiple inputs on the console as navigating back and forth to 'meter' page is just too much hassle whilst trying to mix a group. This option was the door opener to using the Yamaha live for me as I'd considered selling it before getting it. The facilities of the meter bridge are quiite comprehensive allowing two banks of 16 meters to be used as inputs / inputs, inputs / outputs or alternative inputs / outputs plus a big L/R as well as a peak hold. Metering can also be done pre / post EQ for comparison. As much as I've criticised the operating system, the main controls (like the EQ) have their own dedicated controls and operate which ever channel you have currently selected so some things are quite quick to get at. Another really good feature is the Aux sends on faders which is just superb as it's accurate and you can see each mix as the faders jump to attention. The flying faders and flip button allow page changes between analogue 1-16 then digital 17-32 as well as auxes so 99.9% of all mixing including FX (just not returns) and monitors can be done entirely on faders. I use the stereo input faders as stereo group control faders rather than the analogue inputs as these stay as group faders which ever main mix page I'm on. The fact I can pair them up and run 8 groups on four faders is convenient also. Being able to save patches is very handy but what's equally handy is being able to save user configs also. Indivdual channels, individual EQs, different dynamics patches and FX patches can all be pulled up within main save patches. A little convoluted but very handy on occasion. Lastly, building a few templates is very much a must before using the console as it'll take more time to put things where and how you like them than it will to mix a show. All in all, they're a great console that need just a bit of learning before jumping in at the deep end. [URL=http://s778.photobucket.com/user/VTypeV4/media/Macro%20XD%2002R_zpsoa7sbgnq.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/Macro%20XD%2002R_zpsoa7sbgnq.jpg[/IMG][/URL] I'm thinking this one is a keeper..

Sompe pix? Love my VM, it's the best passive guitar I've ever owned..

I had a quick go of an early 4-string Streamer Stage 2 a few weeks back at Bass Direct.. Interesting but it made me realise how happy I still am with my good ol' LX5..

I've never mixed a show on an Si although I have had a play on one and found it very intuitive and simple to navigate. I had a similar experience on an Allen n Grief Qu 16 also. Again, very simple and quick to get round as well as having a logical layout. I'm not currently in the market for a new console but if I was, these two would be top contenders. With regards to the Yamaha's, they do it their own way. I've mixed many shows (and recordings) on my 02R as well as plenty of hire jobs on LS-9 (16 and 32) and I found that once you get the Yamaha thing, they're better but neither are overly friendly from the outset. The LS-9s operating system struggles to keep up with what it's capable which makes it fiddly to navigate. The 02R on the other hand isn't entirely logical with simiilar setting controls in completely different menu / places which is what can slow the work process down until you know where things are. Still, I've learned to love the Yamaha thing over the last few years but it wasn't the smooth and easy transition that the Soundcraft system was. I have occasionally looked at 2nd hand LS-9 32 models but they're still just a liittle too expensive at this time.

As a last point, I do have a plan going forward to incorporate the Mackie for future shows. As suggested above, use it as an exclusive monitor console for better paying shows and get someone else I trust to run it whilst I mix FOH on something I'm happier with. I think they're a great concept and I'm sure they work great for other folks but just not for me.

I've done a dozen or more shows on the Mackie / I-pad setup for our part-time PA and I just can't find any love for it.. I'm a big fan of 'conventional' digital mixers, I use a Soundcraft 328XD and a Yamaha 02R daily at work. Both are a little dated but navigation especially on the 328XD is pretty much as quick as an analogue wiith 10x the feature set and just a couple of EQs. The Mackie will do more than either but the two main points I struggle with are: A: I can't navigate round the platform fast enough. Dragging or pulling areas feels arkward sometimes especiallly if you catch the wrong slider (particularly on the graphic EQ page) it's frustrating. It just all feels a bit slow for my liking. B: The lack of physiicality is a barrier for me. If I've moved away from the main mix, gettiing back for that unexpected guitar solo is super quick on either of my consoles but if I'm on the wrong page on the Mackie, the journey back to the mix page and then to scroll accross to that channel is simply too slow. I feel I made the transition to digital mixers pretty painlessly and I'm now totally sold on the concept. Mixing on an I-pad, however is not for me. I saw John's comment regarding the LS-9. They're a funny thing but I think I'd rather this than the Mackie. I had a very much 'in at the deep end' introduction to the LS-9 but once I'd got my head into it, I appreciated how powerful and flexible they are but they're still not that quick to get round. I've drawn many a parallel to that and my 02R. I've never ran one with a tablet tho. It's late so I'll weigh in with a bit more tomorrow..

[url="http://s778.photobucket.com/user/VTypeV4/media/Riggerrecord_zpsbne68byw.jpg.html"][/url] Me doing a bit of editing during our recording session on Monday just gone.. Both the Soundcraft and the Yamaha behaved faultlessly (as always) although Pro Tools threw a little wobbly half way through. Luckily no data was lost and next to no time wasted. I took the time to make a new 'studio' patch setup on the Soundcraft which used a more detailed and alternative channel set, post fader / EQ sends and use of the Dynamics on the direct outs. I didn't go mad with them, more as a 'massage' so to speak.. This is the first time I've used the gear as a true studio style multi-track setup layering the parts (rather than live 'all in one go') individually and it worked great as long as I didn't rely on monitoring the input I was recording from the MOTU / 02R due to the lag. It's minimal but enough to put me off. Direct monitoring at source via a toy Behringer desk used as a headphone bus at the stage end sorted that issue as well as being used the playback monitor.. [url="http://s778.photobucket.com/user/VTypeV4/media/Macro%20XD%2002R_zpsoa7sbgnq.jpg.html"][/url] I appreciate this would probably fit better in the recording section but I wanted to show the 02R earning it's crust after extensive reconstruction surgery. Working great! I love the 02R, it's a great bit of kit despite being long in the tooth these days..

Oh my.. Pix like this are great (and kinda heart breaking!) so keep 'em coming..

I'd almost forgotten about this.. Glad you managed to get your hands on it. Give it all the love it needs as these are uber rare. I love my V4 head but thankfully it's never had the rough life this one has!

Very cool, very cool indeed..

I think the Ashdown ratings work rather like the old Trace ones where the full 300w is achievable at 4 ohms. You'll get a bit less at 8 ohm, probably around 220 is realistic.. As for 8 and 6 ohm cabs in parallel, this comes to 3.4 ohm total. I very much doubt your amplifier will be upset by this load. The other thing to remember is that all ratings are approximate (most eight ohm cabs meter around 5-6 ohms) and when in use, the imdepance of the drivers will change (alot!) dependant on frequency and enclosure design. Oh, and the cab I re-drivered was just a MAG 410 cab, not the combo so no amplifier section.

[quote name='lowhand_mike' timestamp='1440522959' post='2851570'] would that be the same for the 4x10 deep MAG cab? as i'm sure it says its rated as 8ohms [/quote] I re-loaded a friends' MAG 410 (not sure if it was a deep) a number of years ago and the (fried!) drivers I pulled from that were all rated 6 ohms despite the connector panel saying it was an 8 ohm cab. I couldn't meter them as they were all toast. I found the power rating slightly dubious too at 450w as that would equate to 112.5w rated drivers. I think not...

I always liked the idea of a V4 Ampeg although they do seem thin on the ground these days.. I'm none too fussed for the re-issue model but the one featured above is pretty cool..

Yup, indeed it does..

Why do always wind up arguing the toss about the numbers with amps like this (like the TC etc) when there's no standardisation we can use as a reference point anyways? Waste of time. I like Crown amplifiers for pro-audio but their ratings seem quite flakey when you read the small-print of burst power and use specific tones / noise. At the other end of the scale, in reletave terms, my valve amps make no power at all (my largest is a claimed 200w) but none of it matters. Why? Because if you compare manufacturer specific models against each other -even if they're doubling their claimed power- it's still only 3dB off. And when you try to compare company A's '300w model' against company B's '300w model' - depending on how they're rated - there may well be a much greater difference than that. And I'm not even mentioning speakers and their sensitivity, power handling / rating, frequency response, power compression etc etc here. The watts argument is redundant. Question A.. Can you dial a decent sound out of the amp? If yes move to question B. If no try a different amp / model Question B.. Will the amplifier play loud enough through your choice of speaker for your requirements? If yes, you win! If not do they make the same pre-amp with a much larger power stage and / or buy some more speakers. Simple as that, surely? I've never bought any amplifier (bass, pro-audio, hi-fi or reference) simply on it's rating and I believe to do so would be folly. We always seem to go round in circles about these things. Rant over. Not quite, sorry. The people that have used this amp (according to this thread at least) actually like the amp whether it's rated for 20w or 20Mw..

You can't quite tell from the pix but mine has Svetlana 6L6GCs (not sure if they're the same as yours?) and was apparently done a few years back by the previous owner. I trust him as I've known him for years. He also said he thought one of the driver valves was on it's way out as he thought one channel sounded different but to be honest, they both sound just fine to me. For good measure, I've changed the first stage valve for a Sovtek and the driver valves for a pair of JJ ECC83. As for EHX valves, there's a quad of KT88s in my Trace V4 and they're excellent. I think they're re-branded Sovtek but I had some in the Ashton BV300 and they never missed a beat in that either. I'll certainly use them again. Glad your Peavey is still going strong, may it live long!

I thiink it's one of those things that'll come in handy for both bass and playback..

Nice vintage Peavey setup there, Ed! Best of both worlds with a modern cab too..