The new board features support for protools and digital routing capability that frankly concerned me before I saw the board. It is made and marketed to the serious home studio user, and my fear was that, with all the new features, it would not be a straight forward, easy-to-use recording console. After all, one or two more screens added here and there, and it would not work for us in production. My concerns evaporated when I got the board.

I haven’t even had the time to really go through all the new features, I will have to set it up at home and try the protools interface, but I can now say confidently that for our work in production, there just isn’t any downside, especially when you take into account the price.

What follows is a brief summary of the new and changed features. If you record sound for a living, no matter what the venue, you really should give this board a hard look.

1. Sample rates and analog vs. digital:
I’m currently running the board @96K. It’s very easy to assign and change, and I tried it at 48K with no appreciable difference when recording dialog. I set it back to 96K because why not? If you are running a Deva or PD6 @48K, you would of course set the board to match, although the ongoing debate about the direct to digital vs. analog delivery of the signal remains.

I’m currently bussing the outputs to my machines +4 analog, but Marc Gilmartin, currently on “Nip Tuck,” is going digital to his Deva with great success including the pull up for television. I sat in for a day for him and his rig worked just fine, but honestly I can’t hear or perceive of any difference between the analog output and the digital busses.

One of the reasons I’m still going analog is my love for the Urei LA-22. Simply the best analog limiter I’ve ever used. It gives me confidence that I’m covered for the unexpected and as long as there’s no degradation of the signal by keeping it in the chain, it’s value overwhelms any concern for the purity of the digital signal path. You can of course use a combination of outputs, digital and analog, but more about that later.

2. Word Clock:
The 01V96 has added a master Word Clock and will drive all your devices.

3. 100mm Faders:
Yes, the faders are better on the new board. Not P&G, but a great improvement over the old 80mm ones. If you just have to have a board with P&G sliders, so be it, but I will suggest that you will adjust and that given all the other advantages to the 01V, the faders will not be an issue.

4. EQ:
The parametric EQ is the same as the old board, enhanced by the higher bit and sample rates, but works exactly the same. No improvement needed. There is a choice between Type 1 and Type 2 EQ parameters on the new board and there is a difference in the way they respond. I’m assuming there’s a reason so I’m using the “new” type 2, but I can’t determine the difference and I’m looking into it. Still the finest EQ this side of an SSL or an old Neve.

5. The View Screen and other navigation stuff:
While the screen is still an LCD type, it is bigger and easier to see in bright light than previously. A new “View” screen gives you a snapshot of a selected input or output with a summary of settings: level, EQ, compressor, gating, whatever. The settings can be modified from that screen, ie. you can turn the EQ off and it will take you directly to the EQ screen for that channel. Press the view button again and you’re back to the summary view. Nice addition. Also there is a master solo cancel button that is handy if you use the solo feature.

6. Routing:
It’s still the Swiss Army Knife of signal routing. Pre, post, before or after the eq, direct outs, multiple assigns to input signals, assigning to omni outs and aux busses. All the same, all selectable per input or output.

7. Limiters/Compressors:
One of the most disappointing features of the old 44.1 board, the limiters just were not useable. They pumped and sucked in every setting. The new ones are improved and useable somewhat, but you won’t hear me singing their praises. I still hear them working and the settings often don’t correspond to what I hear. For that matter I haven’t heard a decent digital limiter anywhere, and fortunately they are less of a concern today. The board has plenty of headroom, no need to push the signal.

8. Slating:
Still no slate mic. Don’t know why they do so much so right and not think of the slate mic. Oh well, there are plenty of faders. I use two: one for the machines and to talk to my crew, and the other one to go into the village Comtek buss. A nice feature is the ability to send one input signal to multiple inputs so there are no unsightly adapters. Marc Gilmartin uses three: one to the machines and the village (so they can hear the slates), one private to the crew (can insert in their ears mid take), and the third private to the village. The point is you have options. Possibly better than a standard slate mic. Still, it would have been nice if Yamaha provided it.

There’s a ton of stuff this board will do, you really need to read the manual (downloadable online), or talk to Bill @LSC. West LA Music has the most stock and Tony Adams is the most knowledgeable there. That being said, I’m totally pleased with the new version and I’m learning new stuff everyday. The board went into my setup seamlessly. Call me if you need further information.