Pressing the SEND 1 or SEND 2 button automatically resets all faders to the off or zero position (unless previously set) and brings up the effects select screen. There are thirty effects programs ranging from reverbs and delays to pitch shifters and flangers with several programs combining two effects. Since there are two sends for the internal effects processors, it's possible to have up to four effects at once. And if you count EQ and dynamics processing, that's six effects simultaneously. Use SEND 3 and 4 for external multi-effects processing, and the possibilities are practically limitless. The effects themselves are very clean and sound great. Of course, digital effects are nothing new to Yamaha. Once again, there isn't a large number of parameters in each effect program, and this helps keep editing programs simple and easy to understand without having to access a manual to find out what certain parameters do. Once a program is edited, it can be stored to one of ten user memory locations.

Three EQ buttons, EQ LOW, EQ MID, and EQ HIGH, access ProMix's 3-band parametric equalizer. You get variable Q, frequency, and gain, and an EQ on/off parameter. The Q is expressed in octaves and is adjustable from 1/6 octave to 3 octaves. Gain is ±15dB. The center frequency on the low band is adjustable from 32Hz to 1kHz, on the mid-range band from 32Hz to 18kHz, and on the high band from 1kHz to 18kHz in 1/6 octave steps. The mid-range EQ is peaking while the low and high EQs can be set as peaking or shelving. Most impressive about this equalizer is the EQ curve displayed in graphic form over the top half of the LCD display. A vertical line across the horizontal curve shows the center frequency of the selected band. It's very easy to see what EQ you have on a channel with a quick look at the EQ curve. The equalizer can be applied to all input channels, the two returns, and the stereo output.

The last function button is the LIBRARY button. This is a library of EQ settings. There are thirty factory settings or "programs" and twenty user memory locations. Titles of some of the factory programs include Loudness, EQ Disco, EQ Rock, Kick Drum, Cymbals, Acoustic Guitar, Male Vocal, Female Vocal, Male Announcer, Female Announcer, Telephone Voice, Notch 4kHz, Hum Reduce 50Hz, and W. Noise Reduce. As you scroll through the various EQ programs, a graphic display of that program's EQ curve is shown to the right of the LCD display. This is wonderful. It shows you what EQ Disco is. You can see what Male Announcer EQ is going to do. This is something no conventional mixer provides. And remember, when channels are "paired" for stereo operation, you don't have to set each channel's EQ separately as is necessary on conventional consoles. The ProMix automatically applies the exact EQ to the other channel.

Initially, the ProMix 01 seemed a little intimidating. But it turned out to be very easy to get a handle on. The ability to store mix scenes is a major plus. For people working live stage performances and the like, the advantages are obvious. In radio production, mix scenes can be defined for various "types" of projects. For instance, if you're working with an 8-track recorder, for promo production you might always use tracks 1 and 2 for music, 3 and 4 for stereo effects, and 5 and 6 for mono voice tracks. You might have certain EQ settings for the voice tracks if you are the voice talent. The same goes for reverbs and other effects. All of these settings can be stored so that next time you're doing a promo you simply recall your personal mix scene.


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