Yamaha MV1000 User manual

YAMAHA
MIXER
MV1000
OPERATING MANUAL
MANUEL D’UTILISATION
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1.
IMPORTANT
NOTICE:
DO
NOT
MODIFY
THIS
UNIT!
This
product,
when
installed
as
indicated
in
the
instructions
containe:
FCC INFORMATION (U.S.A.)
d
in
this
manual,
meets
FCC
requirements.
Modifications
not
expressly
approved
by
Yamaha
may
void
your
authority,
granted
by
the
FCC,
to
use
the
product.
2.
IMPORTANT:
When
connecting
this
product
to
accessories
and/or
another
product
use
only
high
quality
shielded
cables.
Cable/s
supplied
with
this
product
MUST
be
used.
Follow
all
installation
instructions.
Failure
to
follow
instructions
could
void
your
FCC
authorization
to
use
this
product
in
the
USA.
3.
NOTE:
This
product
has
been
tested
and
found
to
comply
with
the
requirements
listed
in
FCC
Regulations,
Part
15
for
Class
“B”
digital
devices.
Compliance
with
these
requirements
provides
a
reasonable
level
of
assurance
that
your
use
of
this
product
in
a
residential
environment
will
not
result
in
harmful
interfer-
ence
with
other
electronic
devices.
This
equipment
generates/uses
radio
frequencies
and,
if
not
installed
and
used
according
to
the
instructions
found
in
the
users
manual,
may
cause
interference
harmful
to
the
operation
of
other
electronic
devices.
Compliance
with
FCC
regulations
does
not
guarantee
that
interfer-
ence
will
not
occur
in
all
installations.
If
this
product
is
found
to
be
the
so
please
try
to
eliminate
the
problem
by
using
one
of
the
following
measures:
Relocate
either
this
product
or
the
device
that
is
being
affected
by
the
interference
urce
of
interference,
which
can
be
determined
by
turning
the
unit
“OFF”
and
“ON”,
Utilize
power
outlets
that
are
on
different
branch
(circuit
breaker
or
fuse)
circuits
or
install
AC
line
filter/s.
In
the
case
of
radio
or
TV
interference,
relocate/reorient
the
antenna.
If
the
antenna
lead-in
is
300
ohm
ribbon
lead,
change
the
lead-in
to
co-axial
type
cable.
If
these
corrective
measures
do
not
produce
satisfactory
results,
please
cont
locate
the
appropriate
retailer,
please
contact
Yamaha
Corporation
of
America,
Electronic
Service
Division,
6
act
the
local
retailer
authorized
to
distribute
this
type
of
product.
If
you
can
not
600 Orangethorpe Ave, Buena Park, CA 90620
*This
applies
only
to
products
distributed
by
YAMAHA
CORPORATION
OF
AMERICA
IMPORTANT
NOTICE
FOR
THE
UNITED
KINGDOM
A
ASA
A
A
A
A
nn
Connecting the Plug and Cord
WARNING:
THIS
APPARATUS
MUST
BE
EARTHED
IMPORTANT:The
wires
in
this
mains
lead
are
coloured
in
accordance
with
the
following
code:
GREEN-AND YELLOW : EARTH
BLUE : NEUTRAL
BROWN : LIVE
As
the
colours
of
the
wires
in
the
mains
lead
of
this
apparatus
may
not
correspond
with
the
coloured
markings
identifying
the
terminals
in
your
plug,
proceed
as
follows:
The
wire
which
is
coloured
GREEN-AND-YELLOW
must
be
connected
to
the
terminal
in
the
plug
which
is
marked
by
the
letter
E
or
by
the
safety
earth
symbol
or
coloured
GREEN
or
GREEN-AND-YELLOW.
The
wire
which
is
coloured
BLUE
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
N or
coloured
BLACK.
The
wire
which
is
coloured
BROWN
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
L or
coloured
RED.
CANADA
THIS
DIGITAL
APPARATUS
DOES
NOT
EXCEED
THE
“CLASS
B”
LIMITS
FOR
RADIO
NOISE
EMISSIONS
FROM
DIGITAL
APPARATUS
SET
OUT
IN
THE
RADIO
INTERFERENDE
REGU-
LATION
OF
THE
CANADIAN
DEPARTMENT
OF
COMMUNICA-
TIONS.
LE
PRESENT
APPAREIL
NUMERIQUE
N’EMET
PAS
DE
BRUITS
RADIOELECTRIQUES
DEPASSANT
LES
LIMITES
APPLICA-
BLES
AUX
APPAREILS
NUMERIQUES
DE
LA
“CLASSE
B”
PRESCRITES
DANS
LE
REGLEMENT
SUR
LE
BROUILLAGE
RADIOELECTRIQUE
EDICTE
PAR
LE
MINISTERE
DES
COM-
MUNICATIONS
DU
CANADA.
*
This
applies
only
to
products
distributed
by
YAMAHA
CANADA
MUSIC LTD.
a |

Congratulations!
Your MV1000 is a first-class Yamaha product that will provide you years of high-
quality mixing performance if cared for and operated properly.
This product is designed for a variety of event-type applications, with features geared
towards mixing both speaking and music, and facilities for connecting video.
There are six microphone input channels, offering both balanced XLR, and phone
Jack connectors. l
Each microphone channel has its own high and low EQ controls, and a SPEECH/VO-
CAL switch which selects either a low-cut (rumble) filter or high quality digital echo
effects.
Also, when NOISE GATE is turned on, each microphone will be noise gated. This au-
tomatically switches off the channel when no sound is going through it.
Microphone compression is provided with adjustable threshold and ratio to even out
the levels of the microphones.
There are seven sets of stereo inputs for units such as CD players and tape decks, one
of which is a specialized “Background Music” (BGM) channel.
When BGM MUTE is turned on, just by operating one of the stereo inputs (such as
starting to play a tape), the background music (BGM channel) can automatically turn
itself off, until the tape has finished.
A SOURCE MUTE system can automatically reduce the level of any background mu-
sic (the SOURCE and BGM channels) while microphones 1 or 2 are being used
(called “ducking”, or “gain riding”), so DJ’s or announcers can always be heard, no
matter what other sound is going through the system while they are speaking.
There are two video inputs (for video cameras or players) and a video output, so the
operator can switch between the video sources to make recordings while the event is
occurring. Of course, the video will include a full stereo sound mix!
With two stereo MAIN OUT's, a stereo REC OUT, a stereo MONITOR OUT, two
MONO OUT’s and a headphone mix, the MV1000 has capability to provide output
and monitoring for everyone involved, from the audience and the sound engineer, to
the singers, musicians and speakers.
If this unit is going to be used by people other than yourself, please leave this manual
near the MV1000 so that it can be referred to if necessary.

Contents
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Upper
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Lower
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Precautions
AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to
be exposed to high temperatures or humidity—such as
near radiators, stoves etc. Also avoid locations which
are subject to excessive dust accumulation or vibration
which could cause mechanical damage.
AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care. If you are intending to move the
unit around to different events, we would recommend
that you invest in at least a 6U (6 rack-space) road case
to house it, and any other rack mount gear you may be
using, such as power amplifiers.
DO NOT OPEN THE UNIT, OR ATTEMPT REPAIRS
OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer
all maintenance to qualified Yamaha service personnel.
Opening the unit and/or tampering with the internal cir-
cuitry will void the warranty.
MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power off, on the MV 1000 and all other
attached equipment (especially power amplifiers), prior
to connecting or disconnecting cables. This is important
to prevent damage to the unit itself as well as other con-
nected equipment, due to power surges.
If for some reason the MV1000 cannot be turned off,
turn the input fader of the channel you are connecting
right down first, and also the MAIN OUT 1, MAIN
OUT 2, MONO OUT 1 and MONO OUT 2 faders.
5.
HANDLE CABLES CAREFULLY
Always plug and unplug cables—including the AC
cord—by gripping the connector, not the cord.
CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
ALWAYS USE THE CORRECT POWER SOURCE
Make sure that the power source voltage specified on
the rear panel matches your local AC mains supply:
U.S. & Canadian Model: 120V AC, 60Hz
U.K. Model: 240 V AC, 50Hz
General Model: 230 V AC, 50Hz
TURN-ON PROCEDURE
Always turn the MV1000 power on before turning on
the power to the power amplifier.
For a fuller explanation, see “Turning the power on” on
page 8.

Upper panel controls
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Microphone input section
Microphone 1&2 input phone jacks
These jacks can be balanced (tip/ring/sleeve) or unbal-
anced. There are also balanced XLR inputs for micro-
phones 1&2 on the connection panel (see (68)-a).
The front jacks have priority over the MIC 182 inputs
on the connection panel. If anything is plugged into the
front MIC 1 and/or MIC 2 inputs, the MIC 1 and/or
MIC 2 inputs on the connection panel will be ignored.
Microphone faders
Signal indicators
These light up when there is sound going through the
corresponding microphone.
Speech / vocal selectors
SPEECH sends input signals through a low-cut (rum-
ble) filter, and VOCAL sends them through the digital
effects unit to add echo or reverb.
Digital effects unit
Choose one of the four digital effects by pressing one
of the four buttons, and adjust the amount of echo or
reverb with the LEVEL knob.
Microphone compression indicator
Lights up when microphone compression is occurring.
Source mute indicator
Lights up when source muting (“ducking”) is occurring.
Source select (A,B) buttons
These select either source A or source B for each
SOURCE channel.
Sour
©
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ce and BGM
input section
Output
section
Source faders
BGM muting indicator
Lights up when the BGM is being muted by one of the
other sources.
BGM fader
Level meters
These show the sound level going through either main
output 1 or 2.
Meter selector
This selects whether the meter will show main output 1
or 2.
Faders for main outputs 1 & 2
Faders for mono outputs 1 & 2
Monitor selector
These buttons select what will be sent to the monitor
output and the headphones. Only one of the buttons can
be selected at a time. Attempting to press more than
one button at a time may cause damage to the unit.
Headphone jack
Power switch

Lower panel controls
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Channel label card and holder
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You can label each of the channels on this card, then
slide it into the holder, as shown:
Noise gate switch
Microphone gain adjustment
Microphone high and low EQ controls
Compressor ON/OFF
This turns on compression for all microphone channels.
Compressor threshold adjustment
This adjusts the microphone level where compression
will cut in.
Compressor ratio adjustment
This adjusts the amount of compression that will occur.
Source mute switch and adjustment
The SOURCE MUTE OFF/AUTO switch turns “duck-
ing” on and off.
The LEVEL knob adjusts the volume that the sound
will go down to when “ducking” occurs.
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Source gain adjustment
BGM mute switch
This switch turns BGM muting off, or to automatic.
BGM gain adjustment
MAIN OUT 1 stereo/mono switch
MAIN OUT 2 stereo/mono switch
MAIN OUT 2 source switch
MAIN OUT 2 can either output the same as MAIN
OUT 1 but without the master EQ controls (MIX), or it
can output only the sound from the BGM channel and
source channels (SOURCE).
MONO OUT 1 source switch
MONO OUT | can either output the same sound as
MAIN OUT 1 except in mono (POST), or bypass the
master faders and EQ controls (PRE).
Master high and low EQ controls
These do not affect MAIN OUT 2, the monitor outputs,
or the REC OUT (recording) outputs.

Connection
panel
|
69
69
D
y MAIN y
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8) 40
MAIN OUT jacks (1 £ 2)
Balanced XLR connectors.
EXTERNAL MONITOR IN jack
An external source can be connected here which can be
listened to through the monitor section.
EXTERNAL MIXER IN connector
An optional EXMV 1000 external input unit can be con-
nected here, giving an additional two microphone chan-
nels.
Microphone inputs
69- ล MIC 1 and MIC 2 jacks
Balanced XLR connectors. Balanced/unbal-
anced phone jacks are also provided on the
front panel for MIC 1 and MIC 2.
The front MIC 1 and MIC 2 jacks have priority
over the MIC 1&2 inputs on the connection
panel. If anything is plugged into the front MIC
1 and/or MIC 2 jacks, the MIC 1 and/or MIC 2
inputs on the connection panel will be ignored.
6-b MIC 3 and MIC 4 jacks
Balanced XLR connectors only. Switches are
provided to apply 20dB of muting to each
microphone.
@8-c MIC 5 and MIC 6 jacks
Balanced/unbalanced phone jacks only.
Switches are provided to apply 20dB of muting
to each microphone.
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MONO OUT jacks (1 & 2)
Unbalanced phone jacks.
MONITOR OUT jacks (L and R)
Unbalanced phone jacks.
SUB IN section
An external mixer can be connected here using phone
jacks.
REC OUT jacks
Unbalanced RCA connectors.
BGM input jacks
Unbalanced RCA connectors.
VIDEO IN / OUT jacks
Two sets of video inputs can be connected here. Using
the SOURCE 3 A/B selector switch allows you to
select which of the two sources will be output from
VIDEO OUT.
Source input section
Sources 1, 2 and 3 can each accept two sets of inputs—
A and B. These use RCA connectors.
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A E RA AAA

Simple use
Setting up
In this section, you will learn the basics of how to use your MV1000. The topics covered are:
Setting up: finding a suitable place for your MV1000, connecting output from the MV1000,
connecting input to the MV 1000, and turning the power on.
Using the MV1000: Testing the microphone channels, setting up the effects unit, testing the
source and BGM channels, and sound mixing.
Finding a suitable place for your MV1000
As mentioned in the Precautions section at the beginning of this manual, find a place away from
high temperature and humidity, and somewhere where the unit will be stable. The use of a rack
or road case is strongly recommended, for maximum protection. To install the rack “ears”,
attach the screws (supplied) as shown in the diagram below. It is possible to install the “ears”
facing the back of the unit as well as the front.
O0 0000
The connection panel, which is initially installed at the rear of the MV 1000, can also be moved
to the top of the unit, where the connectors can be reached more easily. This operation is
described in “Moving the connection panel” on page 10.
However, PLEASE DO NOT PERFORM THIS OPERATION YOURSELF. Please take your
MV 1000 to your local Yamaha dealer, the retailer where you bought the product, or an electrical
service technician to perform the operation.
Connecting the output from the MV1000
A. Main speaker systems
Connect the MAIN 1 and/or MAIN 2 outputs to one or more amplifiers.
๑ The MAIN 1 and MAIN 2 outputs (39) use cannon (XLR) connectors.
« The main speaker system/amplifier is usually connected MAIN OUT 1, and other amplifi-
ers to MAIN OUT 2.
๑ Ifusing only amono (1 channel) amplifier, you can connect it to the L (or R) output channel
of the MV 1000, but you must open the lower panel and set MAIN OUT 1 to MONO.
B. Extra speaker systems
Connect MONO OUT 1 or MONO OUT 2 @9 to an amplifier, and attach the extra speakers to
that amplifier.
. MONO OUT 1&2 use 1/4" phone jacks.
๑ The extra speakers can be used as monitors (foldback) for the performers, or put in other
rooms such as dressing rooms. The MONO OUT jacks can also be used to connect to a sub-
woofer speaker system.

Simple use
C. Monitor speakers
Connect a power amp to one or both of the MONITOR outputs @, and the monitor speakers to
the power amp. If you are using powered monitor speakers, you can connect them directly to the
MONITOR outputs.
» The MONITOR outputs (40) use 1/4" phone jacks.
๑ The monitor outputs are supplied to provide a monitoring system for the sound operator.
Because both L and R outputs are provided, you can monitor in stereo.
Connecting the input to the MV1000
A. Microphones/wireless mics/electronic instruments (up to 6)
๑ Itis best to make these connections/disconnections while the MV 1000 is turned off. If this
is not possible, make sure the fader for the channel is all the way down.
๑ Because each pair of the inputs have different connectors, choose which input you use ac- ¢
cording to which connector it has.
๑ Normal (not wireless) microphones can be connected to any of the 6 microphone inputs 68,
and if the input has a PAD switch, switch it to “O dB”.
(1) If the microphone has an XLR connector, use inputs 1, 2, 3 or 4 on the connection
panel.
(2) If the microphone has a phone type plug, connect it to inputs 1 or 2 on the front
panel, or inputs 5 or 6 on the connection panel. Note that you cannot use inputs 1
and 2 on the front and the connection panel at the same time.
๑ Wireless microphones and electronic instruments (e.g. synthesizers) can be connected to
inputs 3, 4, 5 or 6. When connecting them, switch the PAD switch next to the connector to
“20 dB”.
B. Music sources
+ The SOURCE inputs 45) are intended for stereo music sources such as tapedecks, CD play-
ers, Laserdisc players, and VCRs. In fact, nearly anything that uses RCA plugs can be con-
nected.
๑ Itis best to connect/disconnect these sources while the MV 1000 is turned off. If this is not
possible, make sure the source fader for the channel is all the way down.
๑ If there is one unit (e.g. CD player) that is used primarily for background music, connect it
to the BGM inputs. Otherwise, connect the units to the three A inputs first, then the three
B inputs.
NOTE: If you connect two sources to SOURCE 1 A and B, or SOURCE 2 A and B, or
SOURCE 3 A and B, then you won’t be able to listen to them both at the same time.
Turning the power on
Please use the following order when turning on the MV1000.
1) Turn the power on for any wireless mic receivers, or electronic instruments, and anything
connected to the SOURCE inputs.
2) Turn on the MV1000.
3) Turn on the power amplifier(s).
If you must turn on or connect any of the sources or microphones while the MV 1000 is turned
on, bring the fader for that channel right down first.
เณ EPI 5550
- :

Simple use
Using the MV1000
Before you have to use the mixer, it is wise to test out each of the inputs in turn. This will allow
you to set all the levels correctly, and make other necessary settings.
Testing the microphone channels
1) Bring the MAIN OUT 1 fader (9) up to around “7”.
2) For each MIC channel, select whether it is for speech or vocal (includes electronic instru-
ments).
3) Getting someone to speak into or tap gently on the microphone, or play on the instrument,
bring up the corresponding MIC fader until the sound can be clearly heard.
4) IF THE MIC CHANNEL DOESN'T SEEM TO WORK PROPERLY, CHECK:
(a) Does the correct SIGNAL indicator light up when the microphone is being used?
(b) Is the MV1000 connected to an amplifier and speakers, and are these all turned on
and set up correctly? (see “Setting up”)
(c) Is the MAIN OUT fader turned up enough?
V If itis a microphone, check:
(a) Is it plugged in?
(b) Does the microphone have a switch that needs turning on?
V If itis an electronic instrument, check:
(a) Is it connected to the MV1000?
(b) Is the instrument turned on, and the volume turned up enough?
5) If you can hear sound from the microphone/instrument, but at very high or very low levels:
(a) Check that the microphone/instrument is connected to a suitable input, and the
PAD switch setting is correct (see “Setting up”).
(b) You may need to adjust the GAIN knob for the channel (see “Advanced use”).
Setting up the effects unit
Each microphone channel that is set to “VOCAL” is sent to the effects unit (5). The effects can
make music sound much more professional. Select which effect type you want, by pressing
either ECHO 1, ECHO 2, REVERB or HALL.
While somebody is using one of the microphones, adjust the effect LEVEL knob until there is
the right balance of voice and effect for the room you are in.
Testing the SOURCE and BGM inputs
1) Start the source playing that you wish to test.
2) Make sure the SOURCE select switch (8) above the fader is set to the same as the jacks the
source you are testing is connected to (either A or B).

Simple use
oars
ไล
--------
3)
Bring
the
corresponding
source
fader
up
until
the
sound
can
be
clearly
heard.
4)
IF
THE
SOURCE
or
BGM
CHANNEL
DOESN'T
SEEM
TO
BE
WORKING
PROPER-
LY,
CHECK:
(a)
Is
the
MV1000
connected
to
an
amplifier
and
speakers,
and
are
these
all
turned
on
and
set
up
correctly?
(see
“Setting
up”)
(b) Is the MAIN OUT fader turned up enough?
(๐
Is
the
SOURCE
A/B
selector
for
the
source
you
are
using
set
to
the
correct
position?
(d)
Are
SOURCE
MUTE
@
or
BGM
MUTE
@
on?
(Even
if
you
want
to
use
SOURCE
MUTE
or
BGM
mute,
they
may
be
interfering
with
your
testing.
Push
the bottom
panel
open,
and
switch
them
both
to
OFF.)
5)
If
you
can
hear
sound
from
the
source,
but
at
a
very
high
or
very
low
levels,
you
may
need
to
adjust
the
GAIN
knob
(27)
for
the
source
(See
“Advanced
use”).
ง
Sound mixing with the MV1000
Once
the
MV1000
has
been
set
up,
basic
sound
mixing
very easy
to
perform.
Each
of
the
MIC
1
to
MIC
6
faders
controls
the
level
of
the
corresponding
microphone/instru-
ment.
If
you
want
to
listen
to
a
CD
or
cassette,
or
anything
connected
to
the
SOURCE
inputs,
simply
start
the
component
playing,
and
bring
up
its
fader.
The
overall
volume
can
be
controlled
with
the
MAIN
OUT
faders
(1
or
2,
depending
on
which
you
have
the amplifier
connected
to).
If
extra
speakers
have been
connected
to
MONO
OUT
1
or
2,
(perhaps
for
another
room,
or
for
the
performers),
the
levels
can
be
adjusted
with
the
MAIN
OUT
1
fader,
and
can
be
further
adjusted
with
the
MONO
OUT
1
fader
and
MONO
OUT
2
knob.
There
are
other
functions
possible
on
the
MV1000
too,
which
are
covered
in
the
section
“Advanced
use”.
Moving the connection panel
As
explained
on
page
7,
PLEASE
DO
NOT
PERFORM
THIS
OPERATION
YOURSELF.
To
move
the
connection
panel,
remove
the
five
screws
from
the
cover
plate,
and
the
five
screws
from
the
connection
panel,
swap
the
cover
plate
and
the
connection
panel,
then
replace
the
screws.
Ensure
that
no
internal
wires
become
trapped
between
the
unit
and
the
connection
panel.
1
OS
Be le
IO
„OO
|
7
10

Advanced use
Microphone functions
Gain
High and low EQ controls
Noise gate
Source muting (“ducking”)
Compression
On each of the faders on your MV1000, you will see that marker “7” has a wider line than the
other markers. Marker 7 is called the nominal level. That is, during normal use, the best sound
can be achieved if the faders are set near this level.
With the fader at nominal, if the sound through the channel is too loud or too soft during normal
use, adjust the level with the GAIN knob (2). Once this is set correctly, you can go back to using
the fader to adjust the level.
This procedure allows you to compensate for microphones or electronic instruments that have
abnormal levels.
Each microphone channel has its own high and low EQ controls ©), which will boost or cut the
high and/or low frequencies by up to 15 dB.
The NOISE GATE switch (20) is found below each fader, on the lower panel.
The noise gate is a function which turns off the microphone channel when there is only a small
amount of sound going through it. This is useful, for example, to cut out background noise from
microphones that are not being used.
You may find that in some situations, that having the noise gate on while the microphone is
being used for speech results in the speech sounding “clipped”—-that is, the noise gate turns the
channel off then on between words. If this happens, turn the noise gate off for that channel.
The SOURCE MUTE switch (28) is found below the effects section, on the lower panel.
The source mute reduces the level of sound going through the source or BGM sections, when
microphone channels 1 or 2 are used. Whenever the source mute is activated, the source mute
indicator (7) will light up.
The exact level that the sound from the sources or BGM will drop to is governed by the
SOURCE MUTE LEVEL knob (below the SOURCE MUTE switch (28). Tf this is set to mini-
mum (fully counterclockwise), the sound from the sources and the BGM will be cut out com-
pletely when microphone channels 1 or 2 are used. If it is set to maximum (fully clockwise)
there will be no effect.
If source muting does not seem to be working even when the SOURCE MUTE switch is set to
AUTO, the SOURCE MUTE LEVEL may need to be turned down.
The compressor controls (23), (4), (25) are found next to the source mute controls.
Compression is a technique used to even out sound levels, so that louder parts are softened
slightly. When used for speech, it allows the overall level to be turned up, without the risk of
louder sounds being too loud.
When compression is turned on, all microphone channels are affected.
The compression threshold knob (TH) adjusts the sound level where compression will start to
take effect.
11

Advanced use
The compression ratio knob (RATIO) adjusts the amount of compression that will take place
(see the diagram below).
output
level
TH input level
Experiment with the compression controls to find the combination that sounds best in your situ-
ation.
The SOURCE section, and BGM MUTE
Using video
The monitor section
12
Like the microphone channels, each source and BGM channel has a GAIN adjustment, to com-
pensate for sources with particularly high or low output levels.
When the BGM MUTE switch @8 is set to OFF, the BGM channel acts identically to the other
source channels.
When the BGM MUTE switch is set to AUTO, the BGM channel and the source channels
become mutually exclusive—that is, turning on any of the source channels will mute the BGM
channel. The BGM channel will remain muted for around 6 seconds after sound from the source
channels stops.
The MV1000 provides two video inputs, and one video output @).. The video output will always
echo either what is connected to video input A or B.
To switch between video source A and video source B, use the SOURCE 3 A/B selector switch.
Of course, this will also switch which audio source is sent to source fader 3.
There are two main uses for the video section. One is in video recording, and the other in video
playback.
If two video cameras are connected to the video inputs, and a video recorder to the video output, |
the sound operator can switch which camera is being recorded, with the SOURCE 3 A/B selec-
tor switch.
If two video players are connected to the video inputs, and a monitor to the video output, then
the sound operator can select which of the two videos are watched (useful for presentations).
The monitor section is provided so that the sound operator can listen to different parts of the sys-
tem without altering the sound from the main outputs. The monitor can be listened to, through
headphones, or through an amplifier and speakers connected to the MONITOR OUT jacks @.
It is possible to connect an external sound source to the monitor section, through the
EXTERNAL MONITOR IN jack (8). Connection possibilities include sound from another
mixer, or aS a communication link with a cameraman.
Use the monitor selector buttons (6) to select what you want to listen to—either MAIN OUT 1
(main output 1), EXT IN (the external source), or SOURCE 1 or 2 (the source inputs).

Advanced use
SUB IN, and EXTERNAL MIXER IN
SUB MIXER MV1000
Recording
The master section
Using
the
SUB
IN
section
(4),
you
can
connect
an
external
mixer
to
the
MV
1000
to
give
you
even
more
input
channels.
Connect
the
master
outputs
of
the
external
mixer
to
the
SUB
IN
MAIN
L
and
R
jacks
(or
the
MIC
IN
jack),
and
the
AUX
SEND
or
EFFECTS
SEND
of
the
external
mixer
to
the SUB IN
EFFECTS
jack,
as shown.
AUXSEND STOUT MIC EFFECT
L—SUB IN J
MV1000
STOUT MAIN SUB IN
SUB MIXER
The
EXTERNAL
MIXER
IN
(7
is
provided
to
allow
connection
to
the
EXMV1000
external
input
unit
using
a
Dsub
9-pin
connector.
The
EXMV
1000
gives
a
further
two
microphone
chan-
nels,
each
with
a
gain control,
speech/vocal
selector
and
fader.
`
To
make
a
stereo
recording
of
the
output,
connect
a
recording
device
to
the
REC
OUT
jacks
42.
Note
that
the
REC
OUT
jacks
are
not
affected
by
the
main
output
volume,
or
the
master
EQ
con-
trols,
so
your
recording
device
should
have
a
recording
level
control.
If
you
are
making
a
video
recording
through
the
MV
1000,
you
can
connect
the
REC
OUT
jacks
@
to
the audio
inputs
of the video
recorder.
Master high and low EQ controls 8%
The
master
high
and
low
EQ
controls
give
you
control
over
high
and
low
frequency
sound
in
the
main
mix
(MAIN
1,
and
MONO
OUT
1&2
only).
They
do
not
affect
the
monitor
section,
or
MAIN
2.
MAIN OUT 1&2 ST/MONO (0 and 6)
MONO OUT 1 PRE/POST @3)
Both
MAIN
OUT
1
and
MAIN
OUT
2
can
be
made
mono.
If
you
are
using
stereo
sound
sys-
tems
(discrete
left
and
right
channels),
then
set
the
appropriate
switches
to
ST
(stereo).
If
you
are
using
the
left
and
right
outputs
to
drive
separate
mono
systems,
set
the
appropriate
switches
to
MONO
(mono).
When
this
switch
is
set
to
PRE,
the
MAIN
1
fader
and
master
EQ
controls
will
not
affect
MONO
OUT
1.
When
it
is
set
to
POST,
sound
will
be
sent
out
of
MONO
OUT
1
after
going
through
the
MAIN
1
fader,
and
the
master
EQ
controls.
(This
always
happens
for
MONO
OUT
2).
MAIN OUT 2 MIX/SOURCE 6)
When
this
switch
is
set
to
MIX,
MAIN
OUT
2
will
output
the
same
as
MAIN
OUT
1,
except
without
the
master
EQ controls.
When
it
is
set
to
SOURCE,
MAIN
OUT
2
will
only
output
sound
coming
from
the
SOURCE/
BGM
section.
This
will
be
affected
by
BGM
mute,
but
will
not
be
affected
by
“ducking”.
13

System examples
Wedding ceremony
14
Stage monitor speakers
Other microphones/electronic instruments
Foldback amp Power amp
E0000)
wl AS
oo Cc
Wireless microphone
receiver Lapel radio
MIC
inputs
microphone
1 9 แจ น nee VIDEO
1 9 OUT IN
-- 14) E El
rg Cassette deck
Video camera 1
a
Video camera 2
Ea
VA
Video recorder
Operators powered monitor speakers CD player
An example of a system setup for a wedding ceremony is shown. Notice the following points:
The PAD switch for the radio microphone is set to 20 dB. The PAD switches for other mi-
crophones are set to 0 dB
The CD player provides the background music before, after and during certain parts of the
ceremony.
The cassette deck has a recording of a wedding march, to be played as the bride and groom
leave.
So that the background music stops automatically when the wedding march plays, switch
BGM MUTE (on the lower front panel) on.
Additional speakers (e.g. for the foyer) can be connected to MAIN OUT 2.
The sound operator can switch between the two video cameras with the SOURCE 3 A/B
switch on the front panel. The picture will be recorded with stereo sound, and can be mon-
itored through the video monitor.
Y On the front panel (not pictured):
(a) BGM mute is on.
(b) Mics are set to SPEECH if used for speech, and VOCAL if used for singing.
(c) Compression and/or noise gating can be used if desired.
(d) Source muting can be used if people will be speaking over the BGM.

System examples
Business conference
Main speaker L Main speaker R
Stage monitor speaker L
MONO GUT ” ๐ ๐ ๐ ๐ ๐ ๐
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CAS
MAIN = 2
Power amp ¿==
[ซ๊
ว
5
ร
65
O O O ๐
TTY
Tape
deck
Audio
in
e [EJ ie
CD player Audio out
Speakers for lobby/foyer
An example of a system setup for a business conference is shown. Notice the following points:
e The PAD switches are set to OdB when using normal (not radio) microphones.
๑ For video presentations, the sound operator can switch between the two video players. As
the sound from the videos is also going through SOURCE 3 A and B, the sound will be
switched too.
๑ Ifthe presenter wishes to speak while the video is playing, source muting can be turned on,
so that the presenter will be heard more clearly.
๑ An audio recording of the entire conference is made by the cassette deck connected to the
REC OUT jacks.
๑ The speakers connected to MAIN OUT 2 could be positioned in the foyer, or lobby.
Y On the front panel (not pictured):
(a) All microphone channels are set to SPEECH
(b) Noise gating is recommended and compression is optional.
(c) Itis possible to stop sound from the microphones going to the second pair of speak-
ers,
by
switching
the
MAIN
OUT
2
MIX/SOURCE
switch
to
SOURCE.
In
this
case, the BGM will still be sent.
15

Specifications
Total harmonic distortion
Frequency response
Hum & noise”!
(Rs=150 Q Input gain=max,
Input pad=0 dB, Input sensitivi-
ty= -80 dB (20 Hz ~ 20 kHz))
Crosstalk (@ 1 kHz)
Maximum voltage gain
Mic Input channels (CH 1-6)
Source input channels (CH 1-3)
BGM input channel
Digital effects unit
Compressor
Source mute
MAIN 1 EQ controls
16
Less than 0.1% 20 Hz~20 kHz @ MAIN OUT+14 dB into 600 Q
@ REC OUT-10 GB into 47k Q
others +14 dB into 10k Q
(Master fader nominal, one channel fader nominal)
+1, -3 dB 20Hz~20kHz @ MAIN OUT+ 4 GB into 600 Q
@ REC OUT-10 dB into 47k Q
others +4 dB into 10k Q
-97 dB residual output noise
-128 dB equivalent input noise
-64 dB (68 dB S/N) MAIN OUT (Master fader nominal, one channel fader nominal,
others minimum)
-80 dB (84 dB S/N) MAIN OUT (Master fader nominal, all channel faders minimum)
70 dB adjacent input channels
70 dB input to output“?
84 dB MIC IN to MAIN OUT, MIC IN to MONO OUT 1
80 dB MIC IN to MONO OUT 2, MIC IN to MONITOR OUT
44 dB SOURCE IN to MAIN OUT, SOURCE IN to MONO OUT 1
40 dB SOURCE IN to MONO OUT 2, SOURCE IN to MONITOR OUT
14 dB SUB IN to MAIN OUT
Gain control 44 dB (-60 ~ -16) continuously variable
Pad switch 0/20 dB attenuation (ch 3,4,5,6)
EQ controls +15 dB maximum boost/cut in 2 bands:
High: 10 kHz shelving
Low: 100 Hz shelving
VOCAL/SPEECH Low-cut filter (<80 Hz) off/on and effect send on/off
with LED indicators
Noise gate On/off
Gain control
A/B select
24 dB (20 ~ +4) continuously variable
Gain control 24 dB (-20 ~ +4) continuously variable
BGM mute AUTO/OFF
When BGM MUTE is set to AUTO, the BGM will be muted whenever one of the source
input channels exceeds -50 dB. When it is set to OFF, the BGM channel acts as a fourth
SOURCE channel.
Program selector 4 set programs: Echo 1, Echo 2, Reverb, Hall
90 dB dynamic range
ON/OFF switch
Ratio
Threshold
Mute level
AUTO/OFF switch
When AUTO is selected, SOURCE and BGM channels are muted by MIC 1 or 2 input
signals.
+15 dB maximum boost/cut in 2 bands
High: 10 kHz shelving
Low: 100 Hz shelving

Signal indicators
Compressor indicator
Source mute indicator
BGM mute indicator
Level meters
(MAIN OUT 1/2)
Phantom power
Power requirements
Power consumption
Dimensions
Option
Specifications
Green LED within each MIC input channel.
Turns on when post-EQ, post-gain signal exceeds noise gate threshold.
Orange LED built into compressor circuit.
Turns on when compressor is activated.
Red LED built into source mute circuit.
Turns on when SOURCE signal is muted.
Red LED built into BGM mute circuit.
Turns on when BGM signal is muted.
Stereo 6 element LED meters. (-20, -10, —6, 0, +6, PEAK)
Top element turns on when the main input signal reaches 3dB below clipping.
Not supplied
USA/Canada 120V 60 Hz
UK 240V 50 Hz
General 230V 50 Hz
USA/Canada 50W
UK,General 50W
Height/Depth/Width 179.2 / 124.3 /480 mm
Weight 7 kg
External input unit EXMV1000 (provides further two microphone channels)
*1 Hum 8 noise are measured with a 6 dB/octave filter @12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation.
*2 “Input to output” crosstalk measured with gain trim at minimum level on source and BGM channels.
17

Specifications
Input characteristics
Connector in
console
Actual load | For use with
impedance nominal
Input
terminals
Input level 8
Sensitivity `! | Nominal Max. before clip
EN -80 dB (0.078 mV) | -60 dB (0.775 mV)
50-600 ๑
EN 10 ๒ ๐ mics 8 | -36 dB (12.3 mV) | -16dB (123 mV) | +4 dB (1.23 V)
EI | 92468(1237 |
XLR-3-31 type 2
or
phone jack (TRS)
*3
MIC INPUT
600 Q lines
-16 dB (123 mV) +4 dB (1.23 V) +24 dB (12.3 V
SOURCE INPUT A,B —40 dB (7.75 mV) | -20 dB (77.5 mV) 0 dB (775 mV)
600 Q lines
RCA pin jack 5
10 kQ
10 kQ 600 Q lines Dsub 9PIN
0 dB (775 mV) +20 dB (7.75 V) (female) 7
— 6 dB (388 mV) 0 dB (775 mV) +20 dB (7.75 V) phone jack '6
*1 Sensitivity is the lowest level that will produce an output of +4 dB(1.23 V) or the nominal output level when the unit is set to maximum gain. (All faders and level
controls are maximum position.)
*2 XLR type connectors are balanced. (1=GND, 2=HOT, 3=COLD / CH 1, 2, 3, 4)
*3 MIC INPUT phone jacks are balanced, but can be used as unbalanced. (Tip =HOT, Ring=COLD, Sleeve=GND / CH 1, 2, 5, 6,)
*4 MIC INPUT PADs are available only in CH3, 4, 5, 6 for wireless microphones and electronic instruments.
*5 All pin jacks are unbalanced.
*6 All phone jacks except MIC INPUTs are unbalanced.
*7 Dsub 9pin connector includes mic 4 effect sub inputs and DC power supply.
*8 In these specifications, when dB represents a specific voltage, O dB is referenced to 0.775 volts RMS.
RCA pin jack 5
phone jack "®
phone jack “8
.3V)
CH1-CH3 [L,R] -16 dB (123mV) | +4dB(1.23V) | +24dB (12.3 V)
.3 V)
Output characteristics
Output level “4
|
100
Q
stereo phone
jack
`?
*1 XLR type connectors are balanced. (1=GND, 2=HOT, 3=COLD / CH 1, 2, 3, 4)
*2 All phone jacks are unbalanced
*3 All pin jacks are unbalanced
*4 | ท these specifications, when dB represents a specific voltage, O dB is referenced to 0.775 volts RMS.
Connecter in
console
For use with
nominal
Actual source
impedance
Output terminals
18