Yamaha 01V96i Digital Mixing Console

Sep 1, 2012 9:00 AM, Mix, By Steve La Cerra

Versatile Desk Excels in Live and Studio Applications


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Yamaha 01V96i

The 01V96i has 12 XLR mic inputs with phantom power switched in banks of four.

Yamaha’s 01V96i mixing console expands upon the success of its predecessors (the 01V and 01V96), performing double-duty for use in live sound mixing and DAW recording. Featuring a variety of analog and digital I/O, the 01V96i maintains its 40-channel input capacity (32 mono, plus 4 stereo) even at sample rates up to 96 kHz, employing 24-bit/96k converters and 32-bit internal processing. Seventeen motorized faders allow multi-layer control of input channels, output buses and DAW faders, while comprehensive onboard DSP is used to create a wide variety of dynamics, EQ and effects processing.

From the Top

The 01V96i’s top panel features 16 analog inputs, 12 of which have XLR mic inputs with phantom power and pad, balanced TRS line inputs, and TRS inserts (tip=send, ring=return). Inputs 13 through 16 are TRS line inputs only, without inserts. Each channel strip features gain control, SEL, SOLO and ON buttons plus a 100mm motorized fader. RCA jacks are provided for 2-track out and 2-track return. Inputs 15/16 may be switched to accept the 2-track return, enabling it to be re-routed without physical patching—very convenient. A phones jack with dedicated volume control powers any headphones to comfortable levels (including my very old AKG K 240s).

The rear panel hosts TRS Monitor and Omni outputs, balanced XLR outs for the Stereo Master and phantom power switched in three banks of four (you’ll need a paper clip or small screwdriver to access these switches). Also found on the rear panel are RCA jacks for SPDIF I/O, ADAT optical I/O (eight channels), word clock I/O, MIDI in/out/thru and a USB 2 port carrying 16 I/Os for DAW recording and playback. A single YGDAI (Yamaha General Digital Audio Interface) slot facilitates expansion.

The 01V96i’s architecture defaults analog inputs 1-16 on layer 1, digital inputs 17-32 on layer two, Aux and Bus masters on layer three and DAW fader control on layer four. Digital inputs can be USB DAW returns 1-16, ADAT inputs 1-8, or one of a variety of YGDAI cards, including ADAT, AES/EBU, TDIF, Aviom A-Net, A/D, etc. The beauty of the architecture is that you can route any input to any channel, so if you’d prefer to have the DAW returns on layer 1 and the analog inputs on layer 2, it’s easy to switch them. These settings are global and are not stored with scenes. Inputs can be routed to any of eight buses, the stereo bus or a direct out, and can be named to avoid confusion when switching from layer to layer.


All 32 input channels have identical DSP, including 4-band parametric EQ, dynamics (gate and compressor), bus routing, eight aux sends, phase invert, channel delay and software insert, which enables any of the console’s onboard effects to be dedicated to an input channel, a really nice option; more on that later.

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