yamaha outboard lcd display free sample

Displays MPH and KM/H with high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing.

Displays MPH and KM/H with high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing.

Displays fuel tank levels with high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing.

Monitors the water pressure in your outboard (in PSI) to alert you to possible overheating. Provides you with high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing. Requires pressure sender for installation.

Displays engine trim position to ensure a smooth ride. Provides high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing. Requires pressure sender.

Displays engine trim position to ensure a smooth ride. Provides high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing. Requires pressure sender.

Official Yamaha Displays engine trim position to ensure a smooth ride. Provides high accuracy and easy readability in virtually all conditions. Direct faceplate illumination on gauges allows for easy night-time viewing. Requires pressure sender.

Marine electronics, Chartplotters, VHF radios, Depth Finders, Sounders, PWC, Side By sides, Quad, Snowmobile, utility vehicle clusters. Industrial and Heavy Equipment Machine Controllers displays. Backlight repairs, lens and new LCD replacements (on select models) as well as polishing, and some minor  electrical repairs.

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Yamaha, as pioneers of the affordable digital console, have built up a lot of experience both in the underlying technology and in the design ergonomics of compact digital consoles. The original 0-series mixers — the 02R, 03D and 01V, as well as derivatives like the AW4416 workstation and its siblings — found great favour with amateur, semi-professional and professional alike, across a wide range of applications. For example, the original 02R console can be found in countless theatres, small broadcast vans, post-production areas, video-editing suites, voice-over studios, and well-heeled home studios. The two smaller consoles have established almost as wide a user base.

While many of us were expecting an 03D96 to be added to the range, Yamaha chose to launch the fourth member of the family as the DM1000 — emphasising the link to the high-end, professional DM2000. As expected, though, this latest console does indeed sit between the 01V96 and 02R96 in marketing terms. It is physically larger than the 01V96 (although still rackmountable), but smaller than the 02R96. The desk"s operational facilities and UK price are also aimed between its two siblings — although it must be said that both are rather closer to the 02R96 than the 01V96!

The optional meterbridge, like that for the DM2000, features a large timecode display above eight small bar-graph meters dedicated to the eight main mix busses. The left-hand side of the meterbridge carries sixteen more meters, switched in four banks to show all of the 48 input channels, plus the eight aux sends and eight mix busses. The bank switching normally follows that of the console fader-bank selections, but can be operated independently if required. A separate button selects the meter peak hold mode.

One of the acknowledged weakness of the previous generation of consoles was the quality of the analogue circuitry — primarily the mic preamps — and this has been comprehensively addressed in the new range. Although cost and space prohibit the DM1000 from using the same superb preamps developed for the DM2000 flagship, similar technology has been used. While it is still possible to find better outboard preamps, the DM1000"s internal offerings are fine and capable performers with nothing to be ashamed about.

The third row of connectors incorporates a pair of mini-YGDAI card slots. Whereas the earlier YGDAI cards only supported eight channels in and out, Yamaha has recently launched some new digital I/O cards providing 16 channels, and all of the new quartet of digital desks are able to make full use of the additional I/O capacity. So a pair of 16-channel cards can potentially add a further 32 channels of digital I/O to the desk (at 48kHz sample rates), or sixteen channels at 96kHz rates. Not only are Yamaha"s range of mini-YGDAI cards usable with the DM1000, but the Waves Y56K DSP effects card and Apogee AP8AD and AP8DA interfaces are also fully compatible. On the third connector level, alongside the YGDAI slots, is a compact power-supply heat sink. There is no cooling fan in the DM1000 (hurray!) — this is a totally silent console — so the heat sink does get quite warm after prolonged use.

The buttons grouped in the bottom right-hand corner of the control panel are the 12 user-defined keys, plus an associated Menu Display button. The handbook lists 205 possible functions which can be allocated to any of these keys, and up to eight separate banks of keys can be programmed, enabling different function sets to be recalled for different tasks. Options include recalling settings from the various EQ, dynamics, channel, patch and effects libraries; muting each of the surround monitor outputs; enabling/disabling fader and mute groups; various automix functions; oscillator on/off; channel parameter copy and paste functions (very useful!); external MIDI Program Change messages; machine transport controls and track arming; and a host of DAW transport, edit and mixer functions.

Across the top of the control surface are all the non-automated channel controls relating to the analogue inputs: phantom power switches, pads, gain controls and overload LEDs, plus talkback and headphone level controls. Pretty much everything else on the console relates to the digital processing, and can be automated, stored and recalled in some way. The familiar blue monochrome LCD screen dominates the centre of the control surface, with four function buttons plus left/right scroll keys along the lower edge, and high-resolution stereo bar-graph meters running up the right-hand side.

To the left is an array of sixteen buttons which, in typical Yamaha fashion, accesses various menu display screens directly, such as the automix facilities, input and output patches, digital I/O configuration, panning and surround functions, and so on. A section of nine buttons below enable the control and configuration of the eight auxiliary busses, and below those five more buttons determine the operating mode for the channel encoder knobs and the faders themselves. The encoders can be switched to control one of three things: pan; the currently selected aux send level; or Assign, which can be any one of 49 different channel parameters. For example, should you often need to adjust the compressor threshold, or the channel delay, or the front divergence, any of these parameters can be accessed by simply selecting the Assign mode, bringing the required parameter to the encoder knob. It"s not as user-friendly as a complete assignable control panel à la DM2000, but it is very versatile and enables the job to be done perfectly well nine times out of ten. The faders can be assigned to control the normal channel level or the currently selected aux send level.

Above each fader are three buttons: Sel, Solo and On. The functions of the last two will be obvious, and the Sel button, for anyone unfamiliar with Yamaha consoles, selects the corresponding channel for Automix recording and playback, channel pairing, and configuration of fader, mute, EQ and Dynamics groups. In addition, this button causes the LCD screen to display that channel"s parameters.

Below the routing and EQ control section are the familiar Scene Memory selection buttons and numeric display, while to the right on the outside edge of the desk are the four menu navigation buttons, increment/decrement buttons, data wheel and Enter key. The monitoring section immediately above provides source selection keys for the main stereo buss, both of the digital returns (one of which can be assigned to a pair of Omni inputs instead if an analogue replay source is required), and the surround sound buss outs or slot returns. There are further buttons to clear selected channel solos, dim the monitoring and activate the internal talkback system, and a Display key provides direct access to the control-room monitoring configuration menu options. The monitoring level is controlled by a large and easy-to-find rotary knob.

Furthermore, the remote layers can be configured to control a specific subset of channel, aux master and buss master faders in any desired order. So, for example, you could create a fader layer that provided real or VCA-style subgroups of certain channels, alongside some specific channels, with a couple of aux outputs alongside those. This kind of flexibility is ideal for theatre, live sound and broadcast applications. Although it requires a clear head to configure, it is immensely powerful and practical — top marks to Yamaha for having the foresight to include such functionality.

The DM1000 is very easy to navigate and, although highly configurable, it is simple to customise — either on the console or off-line using the Studio Manager software. In many ways I think the new operating concept of this latest range of consoles is even more intuitive than the previous generation. Although the larger consoles undoubtedly benefit from far better ergonomic design, and less need to drive the desk through its LCD screen, the DM1000 is a joy to use for recording and post-production, and I would even be confident running a live theatre show or broadcast with it — something I wouldn"t have been very happy about with the 03D!

As far as sound quality is concerned, I have nothing to complain about here. The mic amps might be simplified versions of those in the DM2000, but they certainly sound respectably quiet and clean, with a neutral overall character. While I would probably still reach for an outboard preamp when seeking to add a little character to a recording, or where I need unusually high gain, I have no qualms over the internal preamps for general recording duties, which I wouldn"t have said for the previous 0-series consoles.

This console would be absolutely ideal in on-line video-editing and post-production suites, theatres, small broadcast studios and OB vans, mobile recording setups and, yes, aspirational home studios. Like many readers, I have waited a frustratingly long time to get my hands on the DM1000, having already been bowled over with the DM2000 and 02R96. I have to say that the wait has been worthwhile and I can find nothing here that disappoints (given the compromises that are inherent in the design aims of the desk) and a great deal that"s very impressive! The desk is fast and simple to configure and operate, amazingly well equipped and versatile, and the Studio Manager software ices the cake to perfection, providing the facility for intuitive off-line configuration as well as on-line control and display.

The MOX6 and MOX8 synthesizers are a subset of Yamaha"s popular Motif range, borrowing the majority of their design from the Motif XS. Although having no onboard sampling or audio recording facilities of their own, they are designed to serve as the heart of a compact audio/MIDI music production system. Simply connect one via USB to a DAW-equipped laptop, add a microphone and a pair of headphones, and you have a keyboard-based recording setup that"s light enough for one person to carry around.

Yamaha have kept the cost, size and weight of the MOX6 to a minimum in several ways. Most obviously, the construction is almost entirely of plastic. Despite this, it feels sturdy enough, without too much of the plasticky "creaking" feeling you might expect. The synth-action keyboard has a shortened front-to-back scale and no aftertouch, there is no ribbon controller, the monochrome LCD display has the same 240 x 60 pixel dimensions as that of the Motif ES, and the real-time controllers comprise only eight knobs and no sliders.

Most of the controls from the display to the right-hand end of the panel will be familiar to XS users; the most significant changes are all on the left-hand end. The functions of the eight control knobs vary slightly from the XS: there are fewer arpeggio and EQ parameters, replaced by chorus and reverb preset selectors, portamento time and volume. The volume knob serves as a substitute for the missing level faders; Part levels can be adjusted here, but only one Part at a time. A pair of long-overdue transpose buttons has also been included. The AF1 and AF2 buttons can now be controlled via a footswitch (hooray!), so you no longer have to remove a hand from the keyboard when playing voices that feature sound variations assigned to these buttons. The audio input gain knob has moved from the rear panel to the top, with its own on/off switch.

New to the MOX are an eight-segment LED meter and a DAW level slider. The meter can be switched to display either the audio input level or the signal level at the MOX"s output (ie. the sum of the internal synth and incoming DAW audio, more on which later).

The MOX also acts as a remote control for your DAW, the level of functionality depending on which DAW program you"re using (see the "DAW Remote Control" section elsewhere). And as you"d expect, the MOX speaks fluent MIDI, handling all 16 channels in both directions. To access all these features, it"s necessary to install the latest Yamaha USB driver on your computer. Once installed, the MOX will appear in the DAW"s device lists: four MIDI inputs and outputs, two stereo audio inputs with mono L/R options for each stereo pair, and one stereo output. MIDI note data is handled by MIDI port 1, while DAW remote-control data is addressed over MIDI port 2.

The Yamaha driver has no problem co-existing with other MIDI drivers, but you may well find it necessary to deactivate other audio drivers your DAW uses. This was the case for me in Sonar, where the Yamaha audio drivers were unavailable until my usual soundcard"s drivers had been deactivated. After that, everything went swimmingly — audio could be recorded from both MOX audio ports, and Sonar"s audio output appeared in all its glory at the MOX"s stereo output jacks. Different audio routings and MIDI settings may be needed according to the task in hand, so the MOX provides instant access to six Quick Setups pre-configured to the most likely scenarios. Any of these can be customised to your own requirements and stored to any of the six Quick Setups, saving time and menu-surfing when you"re on a roll. A full description of the Quick Setup configurations can be found in the MOX support section at www.motifator.com/index.php/support/mox_articles.

If you"re looking for alternatives to the MOX purely as a stand-alone synth, the Motif XS and XF are obvious choices, as they share much of the same functionality and all their synthesis architecture. Beyond Yamaha, synths such as the Korg M50, Roland Fantom G-series and Kurzweil PC3 offer similar synth/sequencer packages. However, the MOX is currently unique in its compact approach to recording audio and MIDI combined with DAW control and VST instrument compatibility.

As with previous Motifs, Yamaha"s Studio Connection concept brings full integration with its "Total Recall" environment to the MOX, when used in conjunction with a Steinberg DAW such as Cubase. To get the full benefit, several pieces of software in addition to the Yamaha USB driver are required: firstly, Cubase or one of its stablemates (e.g Cubase AI5), MOX6/MOX8 Remote Tools, Studio Manager and MOX6/MOX8 Editor VST. All can be downloaded from www.yamahasynth.com/downloads.

Studio Manager acts as host and "organiser" for a range of software editing programs for Studio Connections compatible devices — ie. most Yamaha equipment — and can be accessed from within Cubase. The MOX can be run as if it were a VST instrument within Cubase, and MOX6/MOX8 Editor VST is intended specifically for this application. The obvious advantage of running the MOX as a VST intrument is Total Recall — all its current settings are stored with a project. Any edits made on the MOX"s own panel update the on-screen editor accordingly, and vice versa.

Without Cubase, it"s still possible to enjoy a pretty well-integrated MOX by installing Studio Manager and the non-VST version of the MOX6/MOX8 Editor. The Editor is accessed from within Studio Manager, both running as stand-alone programs alongside your DAW. It just means you have to manually start them up and manually save their settings, rather than having the "symbiotic" VST integration offered by Cubase. Not wanting to miss a trick, Yamaha bundle Cubase AI5 with the MOX for free, together with free downloads of Steinberg"s Prologue synth and YC3B Hammond clone, so the joys of full integration can be experienced by all. Well, nearly all. AI5 must be registered online, even before you can use it as a time-limited demo, then activated to make its use permanent. However, registration and activation can only be done via the included e-licensing software, which requires the computer on which you"ve installed the software to be online — there is no facility for doing it from a different computer. Although it"s unlikely for a laptop not to be web enabled, there are still people out there who choose to keep their main studio computer safely isolated from the web. Surely it would be preferable to be offered alternative methods of activating software, so you can keep your studio setup web-free?

In modern vessel instrumentation the term digital is now used to mean a system of instrumentation in which there are not individual analogue voltage signals for each instrument, but rather a technique where the data to be displayed is encoded at the engine by the engine"s electronic control unit or engine management unit into a serial data stream using digital techniques on a serial data bus that connects between the helm and the engine. The gauges connects to the serial data stream and decode the value they wishes to display from the stream. I do not believe that this level of sophistication has been achieved by Yamaha in their small horsepower range engines, as it would tend to add to the price and the feature would not be that much in demand.

The best source for information about the exact compatibility of a Yamaha instrument with a Yamaha motor is probably the Yamaha company via their friendly customer support staff. (They do have a free dial-in number where you can ask such a question, don"t they?)

One common problem with re-powering from a 2-stroke to a 4-stroke is that older gauges do not have OIL PRESSURE alarms, only the NO OIL and LOW OIL alarms. Yamaha also has both 2 wire and 3 wire trim senders which do not work with certain gauges. To top it off, they changed wiring connections on the newest ones. Newer gauges use 3 dip-switches to calibrate the gauge or 2 or 4 stroke, 2 or 3 wire senders, and for 6 or 12 pulse alternators.

To now add some confusion, it is a "digital gauge" in that you read an LCD "digital" readout; it is not "digital" in the new computer age where data is transmitted with ones and zeros. Don"t worry; just call it a digital gauge and everybody will know what you"re talking about.