Needless to say, digitization and networking are the most important trends in the installed sound industry and the DME64N and DME24N are designed to be the central core of such sophisticated systems. Although they look like nothing more than plain black boxes, these products are fruits of the latest digital audio technology and the labor of Yamaha’s best audio engineers. It took them a few years to bring these products from the planning stage to completion. Let’s listen to key members of the engineering team for their passions and thoughts behind these products.
- Can you tell us the story behind the product’s development?
Shinjiro Takeda (product planning):
We released DME32 in 2000 as a new way of providing Yamaha DSP technology to our customers. In a sense, DME32 was our proposal toward the market. The new DMEs, on the other hand, are based on the feedback from DME32 customers. This made a big difference in the development. We had a clear picture of real world applications this time. You could probably tell that from the new DME brochure which shows several application examples. In fact, it’s more of an applications guide book than a brochure.
- Well, this brochure describes detailed applications for churches. How were you able to ensure that the new DMEs would be suitable for applications not normally encountered in Japan?
Takeda:
I have 12 years of experience working for a sound contractor in Japan, designing and installing sound systems for large applications such as concert halls, theaters, stadiums and arenas. More recently I have spent a considerable amount of time in the US visiting churches and studying audio systems. And I found the requirements are basically the same whether it’s a concert hall in Japan or a church in the United States.
- I see.
Masamitsu Hasegawa (product planning):
After DME32 was released, we got requests for a little brother with built-in ins and outs and suitable for smaller installations. DME24N was originally planned to address such a need. But there were also demands for networking capability and 96 kHz compatibility and we realized we needed a model with expandability, too. So, we decided to develop both DME64N and DME24N together. That was the summer of 2002.
- How was the DME32 received by the market?
Takeda:
The facts that it could be configured to meet the needs of any project by using mini-YGDAI (MY-series) cards, and that DME32s could be cascaded to expand DSP power, were well received.
Hasegawa:
Sound quality was also appreciated very much as being superior to competing products. At the same time, there were criticisms, especially on the limitations of expandability, unattractive GUI, and lack of peripherals. There was a demand for much greater DSP power as well. Such feedback was very helpful for us, and in the development of DME64N/24N we made it a top priority to improve those points.
- What challenges did you have in the development process?
Takeda:
We had three goals to achieve on these products: zoning capability using multiple units, connectivity with audio networking and Ethernet, and 96 kHz compatibility for the integration with DM-series mixing consoles.
Satoshi Takemura (software engineer):
In the software area, networking was the biggest issue. Since DME64N/24N were the first full-blown network products for Yamaha, we had no accumulated design know-how or knowledge about networking and so this project was at first a trial and error process. And as far as the software goes, we had to create from the ground up a mechanism to flexibly program all the internal DSP resources from an external device. It was not an easy task.
Mitsuaki Ando (hardware engineer):
As to the hardware, top priority was, of course, sound quality. While lots of DME64N and 24N will find their home in churches and theaters, many people will use them for tours and live events. That’s why we took particular care of the sonic quality, and I am proud of the result. It is not only clear and intelligible enough for installed sound applications but musically well-balanced from low-end to top-end, and it’s very low in distortion. It is really clean and clear. One other thing I have to mention is DME24N provides built-in A/D and D/A conversion, while DME64N connects to the outside world only via mini-YGDAI cards. So we made sure there is no difference in sound character between these two units so you can use them in the same system.
- Are there any other points in particular you’d like to convey to customers?
Kei Nakayama (“producer”):
Processing power has been dramatically upgraded by employing the DSP chips developed for DM2000 and PM5D, and to take advantage of this, we redesigned the algorithm of each component. We, however, decided to keep all the components that were available in the DME32 in order for the contractor to be able to migrate smoothly to the new series. I should also mention that we recreated the DME Designer software. We rebuilt its structure from scratch so we can add new DSP algorithms as plug-ins.
- Can you give us more details?
Nakayama:
In conventional hardware-dependent systems, you need to update both the application software and the firmware to add new software components. This usually takes a lot of time, but with DME64N/24N, new components can be added simply as plug-ins. This is probably one of the most significant improvements, because it has made it possible for us to respond to the market’s needs rather quickly.
- What kind of plug-ins are being planned now?
Nakayama:
We are working on updates that will provide DME64N/24N with greater flexibility and compatibility for both installed and live-sound applications. SPX effect plug-ins and WAV file playback capability are two of those.
- Let’s talk a bit about DME Designer software. How does it compare to DME Manager for DME32?
Takemura:
We aimed for a design that would be efficient enough for professional use, and that would give you a feel that you are handling professional equipment. We were aware that ‘frills’ like drop shadows and excessive realism don’t help much to keep a user’s interest, so we opted for a more down-to-earth approach with an emphasis on visibility. After fixing this concept, we asked Mr. Amiya at Yamaha Design Laboratory, our in-house professional design office, to create graphics that would meet our suggestions and proposals.
Hiromu Miyamoto (software engineer):
As DME64N/24N can deal with larger systems than DME32 could, we added the “Area” and “Zone” screens that show the overall design and layout of the whole system. Also, we implemented the “main panel” screen, on which you can decide whether to show the Designer (wiring) screen or not. This allows the user to reach the “user control” and “main panel” quickly, by skipping the Designer screen when starting up the program.
DME Designer
Makoto Hiroi (software engineer):
Anyone familiar with DME32 should have no problems with basic operations. In fact, DME Designer is much more user-friendly than DME manager in many ways.
For example the Designer screen is now capable of handling multi-node wiring as well as graphic files. In the Component Editor, you can select the operation mode for knobs and faders and, on top of that, functions like “fine adjustment” and “reset” have been added. This has significantly improved the ease-of-use. We also improved security features and now you can set the access level of each user.
- A variety of peripherals are available this time. Some of them look very simple for a system as complex as DME64N/24N.
Nakayama:
We developed these panels with non-technical people in mind such as a pastor of a church, so anyone can easily handle them. 5-language display is another useful feature of ICP1.
Takeda:
We got many requests for hardware controls after the release of DME32. Users wanted interfaces for on/off switching, program selection, and level control. These control panels are available as standard items now and you don’t have to custom-build expensive hardware. ICP1 includes an LCD panel that acts as a “window” into DME64N/24N, allowing the operator to check and control pre-assigned parameters. When you want to edit parameters of a DME64N or 24N installed in an amp rack located away from the control room, you can do it from your ICP1. It’s a snap. You don’t need a computer.
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ICP1 |
CP4SF |
CP4SW |
CP1SF |
- What kind of future are you picturing for DME products?
Takeda:
We are now focusing on how we could raise the value of each product by presenting them as parts of a system solution. Not only do we contribute to customer satisfaction through a single product, but we would like to offer the market new and original value through systems. For instance, improved connectivity between different types of equipment, or ease of setup could mean higher productivity for the contractor. The key is how easily and efficiently each product works in a system. Let me give you an example. With DME32, you needed to operate DME matrix components from a computer. With DME64N, however, you can control matrix components directly from a PM5D. We implemented this function considering that greater mixer integration would result in better system operability. By learning details like what information an operator would need, or what parameters he/she would pay attention to in a specific situation, we will bring out more user-friendly, safer, and more reliable systems to the market. Also, we would like to come up with systems that can flexibly respond to additions and upgrades of hardware components.
- OK. I understand “system” and “networking” are the keys. What are the main benefits of audio networking?
Taku Nishikori (software engineer):
In conventional systems, each device must be connected according to the system’s audio signal flow and the addition of equipment usually requires rewiring, extra installation work, and more cost. But in a networked system, devices can be added or removed easily at low cost. You can simply plug additional devices into the nearest switching hub or terminal and do the required signal routing via software. Very easy. Both the Yamaha NHB32C and ACU16C, released prior to DME64N/24N, are designed for use in CobraNet networks. The NHB32C allows communication between AES/EBU and CobraNet, while the ACU16C converts from CobraNet to analog audio and provides monitoring and control for PC-N series power amplifiers.
Nakayama:
We developed the mini-YGDAI CobraNet card – the MY16-C – in parallel with DME64N/24N. Since CobraNet is compatible with peripherals on TCP/IP protocol, we made DME controllable via Ethernet too.
- Why did you choose CobraNet?
Nakayama:
The primary reason was universality. We could have developed a network on our proprietary protocol, but that would limit the choice for the customer, because no single manufacturer can provide all components for an entire PA system. CobraNet has many licensees and we thought that would help increase the opportunity for DME64N/24N.
- What about other audio networks? Manufacturers like AVIOM and AUVITRAN released mini-YGDAI cards for their own protocols. Are you going to support them?
Hiroshi Hamamatsu (“producer”):
Of course. As long as CobraNet remains a widely “social” protocol, we plan to actively ensure compatibility with other open-architecture network technologies. Fortunately, the manufacturers you have just mentioned feel the same way and are very cooperative.
- I have some more questions about networking, but time is up. I hope I will have another opportunity to talk to you soon. Thank you very much for your time today.
[Engineers who appeared in this interview]
Shinjiro Takeda (product planning)
Before joining Yamaha Corporation in 2003, Takeda was working for Yamaha Sound Technologies as a sound system planner, where he designed sound systems for concert halls, theaters, etc. Currently, he is in charge of product planning for installed sound applications.
* Yamaha Sound Technologies is a Japanese subsidiary of Yamaha Corporation for the contracting business.
Masamitsu Hasegawa (product planning)
Satoshi Takemura (software engineer)
Before joining Yamaha in 2001, Takemura was with a manufacturer of electronic measuring equipment as a hardware and software engineer. DME is his second project at Yamaha.
Mitsuaki Ando (hardware engineer)
Ando joined Yamaha in 1973 and has ever since been working on hardware development for analog mixers, digital signal processors, and recorders. His products include SPX90 and AW4416.
Kei Nakayama (“producer”)
Nakayama joined Yamaha in 1997 and was involved in the development of 01V. Then he got reassigned to the PM1D engineering team, where he spent 5 years creating software. He is currently managing the engineering aspects of the DME project as “producer”.
Eizo Amiya (graphic & cosmetic designer)
Amiya entered Yamaha Design Laboratory in 1986. After working on the cosmetic design of electronic keyboards and other digital equipment for several years, he got involved in various pro audio projects including PM4000, DMC1000, and AW4416. He is now leading a design team for pro audio equipment.
Hiromu Miyamoto (software engineer)
Miyamoto started his carrier with Yamaha in 1987. After being involved in the software development of rhythm machines, etc., he was reassigned to Windows sequencer application software development. Since 2003, he has been working on DME Designer as development leader.
Makoto Hiroi (software engineer)
Hiroi joined Yamaha in 1989. After spending two years in LSI design, he was engaged in programming of DSPs and sequencer software for 11 years. His current responsibility is to develop editor software. He was involved in the development of Studio Manager for DM2000 & 02R96.
Taku Nishikori (software engineer)
Nishikori entered Yamaha in 1991 and created software for digital mixers for more than 10 years. His products include DMC1000, ProMix01, 02R, 03D, 01V, and PM1D. Currently, he is developing curriculums for product training & seminars in the marketing group.
Hiroshi Hamamatsu (“producer”)
