Yamaha RM602 User manual

ҮАМАНА
Recoding Mixer
Table de Mixage d'Enregistrement
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RMGO2
Operating Manual
Mode d'Emploi
Bedienungsanleitung
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RECORDING MIXER
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CONTENTS
CAUTION (PREPARED IN ACCORDANCE WITH UL STANDARD 1270) ............................ 2
THE CONTROLS AND THEIR FUNCTIONS. ................... eese nennen nennen enn EE 3
РНЕСАЮТІОМ85............................................................... AAMAS NOCH uses] sese se кенен кек nen nn nnn 3
REAR-PANEL СОММЕСТІОМ8..............................................................ҡ1. ) 616 nennen 7
APPLICTION EXAMPLES ................ ET 9
SPECIFICATIONS. ............................................................... ыш аманат анаа nn enne nen 11
BLOCK ШІАСВАМ............................................................... жақан а adesse use nisse nen enn 13
LEVEL DIAGRAM ...........................................................1..2Һ2.....2...1...........(.«кеə кекке ке, 14
TABLE DES MATIERES
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: CONNEXIONS DU PANNEAU ARRIERE ............................. eme ehe hne hn 21
EXEMPLES D'UTILISATION ..................................................2...........2... 23
CARACTERISTIQUES .................................................................24.... 25
SCHEMA SIMPLIFIE .................................................4..2 1 3 12222222...
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INHALTSVERZEICHNIS
VORSICHTSMASSNAHMEN ....... TM"
BEDIENUNGSELEMENTE UND FUNKTIONEN ee I eme e n rn eee hh 31
RÜCKSEITIGE ANSCHLÜSSE ................................ MM 35
: ANWENDUNGSBEIÏSPIELE ............... EE 37
TECHNISCHE DATEN ........................................ TED НН 39
BLOCKSCHALTBILD .................................................. ...... .............. .. 41
PEGELDIAGRAMM ..................... АНН МНТ ЕН

Thank you for choosing the Yamaha RM602 Recording Mixer. The RIM602 is a
compact 6-in/2-out mixing console offering top-quality sound and a comprehensive
range of control features. The RM602 has been specifically designed to provide op-
timum performance in a small sound recording system. To take full advantage of
the outstanding performance. and flexibility provided by this mixer, we urge you
to read this operation manual thoroughly.
CAUTION
RISK OF ELECTRIC SHOCK
00 NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
ә Explanation of Graphicat Symbols
The lightning flash with arrowhead
symbol, within an equilateral triangle,
is intended to alert you to the presence
of uninsulated "dangerous voltage"
within the product's enclosure that
may be of sufficient magnitude to
constitute a risk of electric shock to
persons,
The exclamation point within an
equilateral triangle is intended to alert
you to the presence of important
operating and maintenance (servicing)
instructions in the literature accom-
panying the appliance.
CAUTION (PREPARED IN ACCORDANCE WITH UL STANDARD 1270)
. Read Instructions — All the safety and operating instructions should
be read before the appliance is operated.
. Retain Instructions — The safety and operating instructions should
be retained for future reference.
. Heed Warnings— АП warnings on the appliance and in the operating
instructions should be adhered to.
. Follow Instructions — All operating and use instructions should be
followed. |
. Water and Moisture — The appliance should not be used near water
—for example, near a bathtub, washbowl, kitchen sink, laundry
tub, in a wet basement, or near a swimming pool, etc.
. Carts апа Stands— The appliance should be used only with a cart
or stand that is recommended by the manufacturer.
. Wall or Ceiling Mounting — The appliance should be mounted to
a wall or ceilling only as recommended by the manufacturer.
. Ventilation — The appliance should be situated so that its location
or position does not interfere with its proper ventilation. For
example, the appliance should not be situated on a bed, sofa,
rug, Ог similar surface that may block the ventilation openings; or,
placed in a built-in installation, such as a bookcase or cabinet that
may impede the flow of air through the ventilation openings.
. Heat— The appliance should be situated away from heat sources
such as radiators, heat registers, stoves, or other appliances
(including amplifiers) that produce heat.
10. Power Sources— The appliance should be connected to a power
supply only of the type described in the operating instructions or
as marked on the appliance.
. Power-Cord Protection — Power-supply cords should be routed so
that they are not likely to be walked on or pinched by items
placed upon or against them, paying particular attention to cords
at plugs, convenience receptacles, and the point where they exit
from the appliance.
. Cleaning — The appliance should be cleaned only as recommended
by the manufacturer.
. Nonuse Periods — The power cord of the appliance should be
unplugged from the outlet when left unused for a long period
of time.
. Object and Liquid Entry — Care should be taken so that objects
do not fall into and liquids are not spilled into the inside of the
appliance.
. Damage Requiring Service — The appliance should be serviced by
qualified service personnel when:
А. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled into the
appliance; or |
C. The appliance has been exposed to rain; or
D. The.appliance does not appear to operate normally or exhibits
a marked change in performance; or
. The appliance has been dropped, or the enclosure damaged.
. Servicing — The user should not attempt to service the appliance
beyond that described in the operating instructions. All other
servicing should be referred to qualified service personnel.

THE CONTROLS AND THEIR FUNCTIONS
ke TAPE N TAPE OUT — AUXIN STEREO OUT— “STEREO MONITOR
INSEAT ОЛ
RECORDING MIXER
MODEL RM602
FRONT
PANEL
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INPUT SECTION
1. INPUT SELECTOR
This four-position input selector sets the input sensitivity
of the six channel inputs to —50, -35 or —20 dB. Note
also that the fourth position on channels 1—4 is labelled
“TAPE”, while the same position on channels 5 and 6
are labelled “PHONO L” and “PHONO R”. When the
TAPE position on inputs 1—4 is selected, the corre-
sponding TAPE IN input (see rear panel) is selected as
input rather than the channel INPUT. When the PHONO
position on inputs 5 and/or 6 is selected, the correspon-
ding phono input channel (PHONO Г or PHONO В) is
selected.
The -50/-35/-20 dB sensitivity positions on the input
selector allow you to match the input sensitivity of each
input channel to match the source — e.g. microphone,
electronic music instruments or line level sources. This
allows you to use just about any source on any input
channel without overloading the mixer's electronics. Most
microphones — especially dynamic types — will work best
with the —50 dB input setting. Some high-output con-
denser and electret mics may require the —35 dB setting.
PRECAUTIONS
* Be sure to turn down all faders when making input/
output connections.
* Do not expose the RM602 to direct sunlight or other
sources of heat such as radiators, etc.
е Irreparable damage may result from opening the
RM602 cabinet or attempting to alter the internal
circuitry.
* Avoid dropping your RM602 or subjecting it to any
type of shock, as impaired performance may result.
e Do not attempt to clean the RM602 with benzine or
other soivents, as these may cause discoloration or
deformation of the cabinet. Clean the unit with a soft,
dry cloth. ^

The —35 dB setting is most ideal for direct input from
electric guitars and basses. The —20 dB setting is the
"line level" setting, accepting output from most line-level
sources: some synthesizers and electronic keyboards, and
most standard audio sources (tape players, etc.).
The TAPE position on the first four input channels lets
you switch from the INPUT sources to the outputs from
a 4-channel multitrack recorder without having to repatch
cables. This is particularly handy when you want to
remix the recorded material on 4-track tape.down to
standard stereo format.
The PHONO L and PHONO R positions on the channel
5 and 6 selectors direct the output from the RM602's
built-in phono equalizer amplifier (see rear panel) to
channels 5 and 6, subject to all the controls available
on those channels.
2. HIGH AND LOW EQ
The HIGH ЕО and LOW ЕО controls provide some , tonal
control over the sound of each input channel. The HIGH
control provides plus or minus 15 dB of boost or cut in
the frequency range above 10 kHz (“shelving” EO), while
the LOW control permits boosting or cutting frequencies
below 100 Hz by the same amount.
HIGH EQ is valuable for emphasising the high frequen-
cies of certain instruments — cymbals, for example — and
for reducing hiss and noise on channels in which the
source has no essential frequencies in the range above
10 kHz.
LOW EO can be boosted to make a bass sound bassier,
or cut to minimize rumble or microphone proximity
effects.
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3. EFFECTS SEND LEVEL
This control determines the amount of that channel's
signal which is sent to the internal effects mixing buss.
This effects buss feeds the rear-panel EFFECTS SEND
jack — via the master effects send level control (see
MASTER SECTION) — which normally feeds an external
echo or reverberation device. Having independent effects
send controls on each input channel means that the :
amount of effect applied to the signal from each,
channel can be set independently.
The signal sent to the effects buss is "post EQ/fader”,
meaning that it is taken from a point after the equalizer
and channel fader circuitry.
4. MONITOR PAN CONTROL
One of the more attractive features of the RM602 is
its independent stereo monitor buss which makes it
possible to monitor a completely indepedent stereo mix
of the input channel or tape signals. The monitor PAN
control determines the placement of that channel's sig-
nal in the stereo monitor sound field. Turning the pan
control fully to the left sends the signal опу to the left
monitor buss — meaning that you hear the signal ony
from the left monitor speaker. Conversely, turning the
control all the way to the right sends the signal to the
right monitor buss only. Pan control positions in be-
tween extreme left and right send a corresponding
amount of the signal to both busses, causing the
signal to appear in the corresponding position in the
stereo sound field.
5. MONITOR POST/TAPE SELECTOR
(CHANNELS 1—4)
MONITOR POST/STEREO L OR STEREO R
SELECTOR (CHANNELS 5 & 6)
On channels 1 through 4 this selector determines
whether the channel input source (POST) or the cor-
responding tape input signal is sent to the monitor buss.
On channels 5 and 6 the choice is between the channel
input source or the left (CH 5) ог right (CH 6) stereo
mixing buss signals. The fact that the channel signal
position is marked "POST" indicates that the channel
signal is derived from a point after the equalization and
fader stages.
6. MONITOR LEVEL
This control determines the amount of that channel's
signal (or the selected tape or stereo buss signal) which
is fed to the stereo monitor mixing buss via the monitor
PAN control discussed above. Independent monitor level
controls on each channels permit a monitor mix to be
set up independently from the input channel faders.

em
7. PAN ;
This control has the same effect as the monitor PAN
control, discussed above, except that the channel signal
is panned across the main program buss which feeds `
the mixer's main stereo outputs. -
Panning is one of the more "conventional" functions
that a stereo mixer performs, permitting acoustic place-
ment of each instrument or group of instruments at any
desired location in the stereo sound field. Le. the sound
of a particular instrument can appear to come from the
left speaker, right speaker, or anywhere in between. This
positioning of the signal from each input channel is per-
formed using "pan pots". The position of the pan pots
relates directly to the acoustic position of the respective
channel's signal: pan pot fully clockwise means that the
sound comes from the right channel speaker, fully coun-
terclockwise means that the sound comes from the left
channel speaker, and at intermediate pan pot settings
the sound appears to be located at the appropriate point
between the left and right speakers.
The pan pots can also be used to create the effect of
"floating" an instrument from one side of the stereo
sound stage to the other.
Generally, you'll use the pan pots to create the desired
acoustic image.
8. INPUT FADER
The input faders are what provide the actual "mixing"
function in a mixer. They permit individual adjustment of
the levels of the six input sources so you can achieve
just the right overall balance between instruments,
vocals, or whatever you are mixing.
These are the controls that you'll be using the most, and
how they are used can make the difference between
excellent and mediocre sound. Maximum signal-to-noise
ratio and minumum distortion, and therefore the best
sound, is generally obtained with fader settings between:
about 1/3 and 3/4 of the fader scale. Fader settings that
are too high or too low should be avoided by increasing
or decreasing the level of the source whenever possible.
Most electronic keyboards and electric guitars have an
output level control, and microphone output level can be
adjusted by changing the distance of the microphone
from the sound source.
MASTER SECTION
9. TAPE OUT SWITCHES t
Rather than always having input channels 1 through 4
feed the corresponding TAPE OUT jacks, these switches
make it possible to send the left stereo buss signal to
either the TAPE OUT 1 or 3 jacks, and the right stereo
buss signal to either the TAPE OUT 2 or 4 jacks. This
makes it possible to reconfigure the system to mix the
input channels down to stereo on the recorder con-
nected to the TAPE OUT jacks.
STEREO L Signal TAPE OUT ` LINE IN
o
STEREO L Signal TAPE OUT LINE IN
CHI
Signaler
apaga
CHI
Signal
О
“моне
Ф
“>
o
CH3 Signals CH3 Signal
CH2 Signal s CH2 Signal
CHA
Signal
кеннен
кес
CHA
Signal
STEREO R Signal STEREO R Signal
10. EFFECTS RETURN
The output from the effects device you use (normally
echo or reverberation, fed by the EFFECTS SEND jack)
is returned to the EFFECTS RETURN jack and fed to:
the stereo mixing buss via the EFFECTS RETURN con-
trol. In other words, this control determines how much
of the externally processed signal is mixed back into the
main stereo program.
11. AUX IN |
The RM602 has a pair of AUX IN terminals that make it .
possible to mix an extra stereo signal in with the sources
present at the six input channels. The AUX IN control
adjusts the level of the AUX IN signal in relation to the
rest of the program. What you connect to the AUX IN
terminals depends entirely on your specific application,
but here are just a few examples:
1. You could connect the outputs from a stereo cassette
deck to the AUX IN terminals and play back a tape
of your favorite band. Then you can mix in your own
instrument and play along —a great way to practice.
2. With the same setup as in number 1, above, the
cassette tape can be supplying. background music
while you mix in a narration and/or sound effects
for your audio/visual show and record the mixed
program on a second tape recorder.
3. Another possible use for this feature is as extra inputs
if the six main input channels are all in use. An elec-
tronic keyboard or other line-level source could be
connected to the AUX IN terminals with a phone-to-
RCA pin plug adaptor and mixed in with the rest of
the program using the AUX control. Of course you
don't
get
any
tone
control
or
panning
capability,
but
if you need the extra inputs, they're available.

12. EFFECTS SEND MASTER LEVEL
This controls sets the overall level of the effects mix—
set up by the EFFECTS control on each input channel —
fed to the EFFECTS SEND jack. Normally, this control
will be set to provide the optimum input level for the
effects device you are using. .
13. MONITOR MASTER LEVEL
This control determines the overall level of the monitor
mix —set up by the MONITOR level and PAN controls
on each input channel —fed to the stereo MONITOR
OUT jacks and the PHONES jack. Use the master
MONITOR control to set a comfortable headphone
listening level.
14. MASTER FADERS
These controls independently set the overall output level
from the left and right stereo busses. These signals ap-
pear at the STEREO L OUT and STEREO R OUT jacks.
15. STEREO PEAK LEVEL METER
In the input fader section we discussed the importance
of proper fader setting in order to achieve the best pos-
sible sound quality. The RM602's LED peak meters are
a tremendous aid in setting optimum fader levels.
Two meters are provided — опе each for the left and
right stereo output channels. Each meter consists of 13
LED segments that light in sequence to show the peak
signal level for the respective channel. Meter display
range is from —20 dB to +8 dB. Levels below 0 dB
are displayed in green, 0, +1 and +3 dB levels are
displayed in orange, while +5 and +8 dB levels are
displayed in red. Watching the meters you can easily see
when signal levels are high enough to present a danger
of overload distortion — signals that light the red LEDs
are likely to cause distortion. On the other hand, if the
meters almost never reach the 0 dB level, then the over-
all program level is too low. Once the optimum program
level has been set, peaks in the program will cause the
orange LEDs to flicker occasionally, and most of the
green LEDs will stay lit most of the time. This applies
mainly to the average music program. Some types of
program will have a completely different effect on the
meters, requiring appropriate level adjustment. In general,
though, it is a good idea to avoid a lot of peaks in the
red region. Also remember that when only one instru-
ment is playing the level might look quite low on the
meters, but when instruments connected to all six
inputs start to play their individual levels can add up
to overload distortion. So check the meters when the
entire program is playing.
16. HEADPHONE JACK
This is a convenient feature in that it lets you directly
plug-in any standard pair of stereo headphones for
monitoring without the need for an external amplifier.
17. POWER SWITCH . |
This is the power switch. When the power is turned
ON, the lowest position on the level meter (“со”) will
light up.

REAR-PANEL CONNECTIONS
REAR PANEL
VOLTAGE
110-120 V Э
Voltage Selector © MU 6 5
(General Model Only)
1. CHANNEL INPUTS `
These jacks are the main inputs to the RM602's six input
channels. They accept both line-level and microphone
input depending on the setting of the respective input
selector switch. Standard 1/4" phone jacks insure com-
patibility with just about any electronic instrument or
microphone.
2. EFFECTS SEND AND RETURN
The output from the EFFECTS SEND jack is fed to
the input of an external signal processing device such
as delay or reverb (The Yamaha D1500 is a superb
digital delay unit, while the R1000 offers high-quality
reverb effects).
The output from the external signal processing device
is then fed back to the EFFECTS RETURN jack from
which it is mixed with the main stereo program via the
EFFECTS RETURN level control. When the EFFECTS
RETURN signal is received in stereo, input to both the
EFFECTS RETURN L and R terminals; when received in
mono, input to the L terminal.
3. PHONE EQ AMP INPUTS AND GND TERMINAL
The RM602 has a built-in phono equalizer amplifier
which makes it possible to directly connect the stereo
outputs from a conventional turntable (record player) to
these inputs, permitting the phono signal to be used
alone or mixed with other inputs. The left and right
phono channels feed input channels 5 and 6 when the
channel 5 and 6 input selectors are set to PHONO L
and PHONO R, respectively.
EM Е---4 —
ËCH
U.S./Canadian Model
Be sure to connect the ground wire from the phone
player to the GND terminal. When the turntable is not
connected, insert a short plug into the PHONO terminal.
4. TAPE INPUTS AND OUTPUTS |
Four inputs and outputs are provided for direct connec-
tion to a 4-channel multitrack tape deck — such as the
Yamaha MT44D or MT44. The outputs from the tape
deck connect to the RM602 TAPE IN jacks, and the
tape deck inputs connect to the RM602 TAPE OUT
jacks. The tape inputs are selected for mixdown or
monitoring by setting the appropriate channel input
selectors (channels 1—4) to ТАРЕ. Input channels 1
through 4 feed the respective TAPE OUT jacks.
These specialized inputs and outputs mean that the tape
deck can stay connected all the time — unlike many more
expensive mixers with which you have to keep patching
and repatching cables whenever you need to change
from line to tape input.
5. AUXILIARY INPUTS
Any line-level stereo (or mono if necessary) signal can
be added to the main program by these terminals. This
is a great place to connect the outputs from a stereo
cassette deck, for example.
6. STEREO OUTPUTS
These are the main outputs from the RM602. They
carry the stereo program set up at the input channels
and AUX inputs. Both standard 1/4" phone jack and
RCA pin jack output terminals are provided.

7. STEREO INSERT | |. 8. MONITOR OUTPUTS
This is a TRS (Tip Ring Sleeve) type phone jack, incor- These are the line outputs from the stereo monitor buss.
porating both the insert send and receive lines. The They can be fed to a stereo power amplifier and monitor
STEREO
L
and
STEREO
R
INSERT
points
make
it
speaker
system,
or
directly
to
a
pair
of
powered
monitor.
possible to patch external signal processing equipment speakers such as the Yamaha М510.
independently into the left and right stereo busses,
preceding the master stereo faders. This is an ideal place
for insertion of graphic equalizers, Yamaha GQ1031 for
example, for precise response tailoring of the overall
stereo program. The TRS jacks are wired as shown in
the following diagram.
INPUT GND
OUTPUT

APPLICATION EXAMPLES
1.
Check
out
your
original
arrangements
or
make
top-
3.
The
RM602
provides
extensive
mixing
flexibility
for
quality
demo
tapes
with
an
RM602
and
a
4-channel
superb
sound
at
band
practice
or
mini-concerts.
multitrack
recorder
(and
you
can
play
all
the
instru-
4.
If
you're
a
“videophile,”
you
need
a
good*multi-
|
ments
youself!).
|
function
mixing
system
for
post-production
work
like
.
The
ideal
companion
4-track
multitrack
cassette
—
adding
background
music,
narration
or
Sound
effects.
recorder
for
the
RM602
is
the
Yamaha
MT44D.
Both
The
RM602
is
ideal.
|
Ше RM602 and MT44D can be conveniently housed
in the RB35B rack, which also features a handly built-
in patch bay.
2. The RM602 makes a great on-stage keyboard mixer.
You can control the balance and sound of your
keyboard setup before sending your signal to the
sound reinforcement mixer.
Ш SYSTEM EXAMPLES: RECORDING SYSTEM
Performen's monitor Compressor/limiter
or graphic EQ Stereo Cassette deck Reverb/delay unit
x Feat 216 4 222.805 6 бао дь _
Input sources
Power amp
С Б ООО9005| 55990900 .
Compressor/limiter | 4-channel multitrack recorder
or graphic EQ

ША MULTITRACK RECORDING SYSTEM
"WHAT YOU NEED
Basically, all you need Tor. a simple multitrack recording _
setup are your instruments, .a couple of good mics (if
you're going to be recording voice or acoustic in-
struments), a 4-channel multitrack recorder such as the
Yamaha MT44D, an RM602 and a pair of headphones.
With this simple system you can create surprisingly com-
plex recordings with your band, or by yourself. And
although the term "4-track recorder" seems to imply
that you can only record 4 individual parts, you can ac-
tually record up to ten individual parts using a technique
known as "ping-ponging" (for details on this and many
other recording techniques, refer to the Yamaha Multi-
track Guidebook). There's no better way to brush up
your compositions, arrangements and playing technique,
and then show it all off in the form of a high-quality
demo tape. To make a demo tape you'll need a regular
stereo cassette deck to "mix down” to from the original
4-track master tape.
MORE INSTRUMENTS FOR MORE CREATIVE
VERSATILITY ,
Once you get set up and rolling with your multitrack
system, you'll discover that the more instruments you
have available the better. This allows you to create more
diverse tonal textures and interesting combinations of
sounds (can you imagine 10 tracks of guitar? Interesting
at first but it would soon get pretty tiresome). One in-
strument that is not so limited in terms of the sounds it
produces is the synthesizer. With carefully planned syn-
thesizer "patches" that produce a diverse, but carefully
matched, range of voices, you could create a complete
composition that would not be in the least bit tiresome.
10
Yamaha offers an extensive line of synthesizers that are
ideal for the purpose —all the way Кот the tiny CSOT-II
monophonic synthesizer right up to the professionally
acclaimed DX-series Digital Programmable Algorithm
synthesizers. |
Rhythm is another problem that most multitrack record.
ists encounter sooner or later. Unless you're a drummer,
it's probably impractical to buy or borrow a complete
set of drums for your "studio." Once again, Yamaha
comes to the rescue with the exciting new RX-series
digital rhythm programmers. These are drum machines
that not only sound like the real thing (the drum sounds
are digitally recorded), but offer extensive programming
versatility as well as MIDI (Music Instrument Digital
Interface) compatibility.
EXTRA MONITORING CAPABILITY
With a little experience your recordings should start to
sound quite professional, and you'll probably find you
need a bit more monitoring versatility than a pair of
headphones provides. At this point you should check
out the Yamaha Producer Series MS10 Monitor Speaker.
This compact speaker features a high-quality built-in 20
watt power amplifier, and has volume, bass and treble
controls on. the front panel.
Of course, if you want to go ail the way you can use a
high-quality stereo power amplifier and monitor speakers
— Yamaha offers an outstanding selection.
MORE TO COME
The Yamaha lineup of products specifically designed for
the small recording studio is expanding. More and more
products that will help you make professional-quality
recordings will become available in the near future.

SPECIFICATIONS
Frequency Response 20 Hz - 20 kHz
(@10 k-ohms, Rated Level) _ | (+1, -2 dB)
Total Harmonic Distortion Less than 0.0596
(20 Hz ~ 10 kHz, 10 k-ohms, + 10 dB)
Noise Level* |
(20 Hz — 20 kHz, Input Shorted, INPUT SELECT
“--50”) ,
Equivalent Input Noise — 122 dB
Residual Noise (STEREO OUT EFFECTS SEND) — 101 dB
STEREO OUT | — 89 dB
(MASTER Fader: nominal All CH Faders: minimum) `
MONITOR OUT — 79 dB
(MONITOR Volume: nominal, All CH MONITOR
Volumes: minimum) |
EFFECTS SEND — 89 dB
(EFFECTS SEND Volume: nominal, All CH
EFFECTS Volume: minimum)
Maximum Output Level + 17.5 dB
(10k-ohms, THD 0.296, 20 Hz - 20 kHz)
Maximum Voltage Gain
CH
INPUT
to
STEREO
OUT
52
dB
CH INPUT to MONITOR OUT 68 dB
CH INPUT to EFFECTS SEND 58 dB
CH INPUT to TAPE OUT 46 dB
CH
INPUT
to
ST
INSERT
OUT
46
dB
TAPE IN to STEREO OUT 12 dB
TAPE IN to MONITOR OUT _ 22 dB
AUX IN to STEREO OUT 16 dB
EFFECTS
RETURN
to
STEREO
OUT
16
dB
ST INSERT IN to STEREO OUT 6 dB
Crosstalk (1 kHz) 7
Input
CH
to
Input
CH
—
60
dB
Input CH to Output CH — 60 dB
Equalizer Characteristics
HIGH-EQ
(10
kHz
Shelving)
+
15
dB
LOW-EO (100 Hz Shelving} | + 15 dB
Power Requirements | |
(UL, U.S.A.) AC120 V, 60 Hz
(General) AC110, 120, 220, 240 V
50/60 Hz
Power
Consumpsion
15
УМ
|
Dimensions
(Wx
H
x
D)
340
х
73
x
325
mm
|
|
(13-3/8"
x
2-7/8"
x
12-3/4")
Weight
3.2
kg
(7
lbs.
1
oz.)
Specifications subject to change without notice.
*Measured with a —6 dB/octave LPF 12.7 kHz.
0 dB=0.775 V r.m.s.
11

E INPUTS
TAPE IN CH1 ~ СН4 10 k-ohms TAPE DECK
РНОМО IN CH5, CH6 47 k-ohms TURNTABLE
- 62 dB - 22.5 dB
| (0.62 mV) | (58.1 mV)
CH1~
CH6
20
k-ohms
воо
ohms
LINES
LES
mV)
(827
ту)
- 22 dB
- 26 dB — 20 dB + 20.0 dB
$00 ohms LINES (38.8 ту) (77.5 mV) (7.75 V) PIN JACK
INPUT INPUT INPUT SOURCE SENSITIVITY* | NEUT EIS IH
TERMINALS SELECT IMPEDANCE IMPEDANCE’ (MAXIMUM GAIN) | NOMINAL LEVEL - NON- CONNECTOR
| CLIPPING LEVEL
-32 dB —20 dB A 7.5 dB
(19.5 mV (77.5 mV) (1.84 V)
(61.5 mV) PIN JACK
— 62 dB —50 dB
(0.62 mV) (2.5 mV) PIN JACK
— 26 dB —20 dB
- 16 dB -10 ав + 20.0 ав PHONE JACK
10 k-ohms 600 ohms LINES (245 mV) (7.75 V) (TRS)
AUX IN (L, R)
EFFECTS RETURN (L, R)
ST INSERT IN (L, R)
B OUTPUTS
OUTPUT LEVEL
OUTPUT TERMINALS OUTPUT „| LOAD | МАХ. NON- CONNECTOR
IMPEDANCE | IMPEDANCE RATED LEVEL МАХ NON LEVEL
+17.5 dB (5.81 V) PHONE JACK & PIN JACK
0 dB (775 mV + 17.5 dB (5.81 V) PHONE JACK
+ 17.5 dB (5.81 V PHONE JACK
+ 17.5 dB (5.81 V) PIN JACK
ST INSERT OUT (L, В) | 330 ohms | 10 k-ohms LINES | —10 dB (245 ту) | +17.5 dB (5.81 V) | PHONE JACK (TRS) |
PHONES STEREO PHONE JACK
*Sensitivity is the lowest level that will produce an output of — 10 dB.
0 dB z 0.775 V r.m.s.
Ail inputs and outputs are unbalanced.
Ш DIMENSIONS
15 (5-7/8")
52.5|(20-11/16")
299 (117-11/16")
325 (127-15/16")
221.5 (87-3/16")
(14-3/16")
15 (5-7/8°) 10 (3-15/16”)
73 (28-3/4")
11 (4-5/16") |
35 | (13-3/4''} 270 (106-5/16") 35 | (13-3/4")
340 (133-7/8”)
Unit: mm (Inch)
. 12

BLOCK DIAGRAM
MIX BUSSES4
—
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LÉ E oS
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STEREO L FADER
INPUT ! га
STEREO L QUT
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CHI
TAPE IN ° ен o Let
|
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STL, SJ Өз
[- INPUT 2 | ТАРЕ OUT SW 4
CH2 | TAPE OUT
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|
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TAPE IN i
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INPUT
3
|
|
`
4
CH3 | | 5180 N
Д | И
L таре IN | | [7
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| EEE
INPUT 4 | l
CH4 | |
1
|
| rare IN | |
4
o A | STEIREO R INSERT
STEREO R FADER
—|
STEREO R OUT
и
Г
| 3
| т за па поп оо ооо оо ооо b o 1$ Tiii LH
CH5
|
LEVEL
METER
PHONO
L
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о
i
de
A
STEREO L MONITOR PAN
po
“1000000000000 [0000000000
m- INPUT 6 |
CH 6 | |
"reng E
ITOR OUT
Г
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{MONO \ .
(EFFECTS RETURN)
|
4
EFFECTS RETURN
^mR
| 5, [|]
I 2
a
| R 9---
EFFECTS SEND
13

LEVEL DIAGRAM
РАМ ү sus STEREO ,
INSERT
POST EFFECTS D А
SELECT
On MONITOR PAN
а ) ` STEREO FADER
TAPE MONITOR
Idm
TAPE
IN
,
STEREO
OUT
.
©
LEVEL METER
C d
INPUT | `
, FADER А
| 0—0 ©) ТАРЕ OUT
CH5,6
-500
|
a
-350 “.... or | eos EFFECTS ТАРЕ OUT SW
-200 SELECT ©
PHONO о
7“, À MONITOR PAN |
ә
STEREO MONITOR
Бан:
MONITOR OUT
AUX IN 9 — MONITOR
А AUX IN
| | o——Al| PHONES
EFFECTS RETURN f |
EFFECTS a
, RETURN EFFECTS
EFFECTS
SEND ,
dB
| CLIPPING
+20
CLIPPING
LEVEL
CLIPPING
LEVEL
LEVEL
т -— ----- | f ee
# ”
и m AH Р
но 4 / Ы d
^ ы
/ : /
z
9 ' MONITOR OUT (ode)
O4
c
em
geen
тз
өз
тз»
a / / M STEREO OUT
Ш | / \ ТАРЕ OUT
STEREO ( STEREO INSERT ) \ EFFECTS SEND
—10 М -10dB)
х (
\
\
-20 AUX IN, EFFECTS RI — \ PHONES
----(-ггав)
-30
-40
—50, PHONO
-50
14

15

Nous vous remercions d'avoir choisi la table de mixage RM602 YAMAHA.
Le RM602 est une table de mixage compacte à 6 entrées/2 sorties offrant
un son de premiére qualité et une vaste gamme de commandes. Le
RM602 a été spécialement concu afin de fournir des performances
optimales dans un petit systéme d'enregistrement. Pour profiter au
maximum des performances exceptionnelles et de la souplesse
opérationelle de cette table de mixage nous vous demandons de lire
attentivement ce mode d'emploi.
PRECAUTIONS A PRENDRE
€ Assurez-vous de ramenez à zéro tous les € Evitez de faire tomber ou de faire subir tout genre
atténuateurs quand vous faites les connexions des de choc au RM602 car des performances altérées
entrées et des sorties. | pourraient еп résulter.
€ Assurez-vous que le RM602 est hors d'atteinte des ө N'utilisez pas de benzine ou autres diluants pour
rayons directs du soleil ou à l'écart de sources de nettoyer le RM602 car cela pourrait entraîner la
chaleur (radiateurs, etc.). décoloration ou la déformation du coffret. Nettoyez
e Des dommages irréparables pourraient résulter de cet appareil avec un chiffon doux et sec.
l'ouverture du coffret ou d'une altération des circuits.
internes.
16

LES
COMMANDES
ET
LEURS
FONCTIONS
SECTION ENTREE
1. SELECTEUR D'ENTREE
Ce
sélecteur
d'entrée
à
quatre
positions
règle
la
sensibilité
d'entrée
des
six
canaux
d'entrée
à
—50,
—35
ou
—
20
dB.
Notez
aussi
que
la
quatrième
position
des
canaux
1
-
4
est
marquée
"TAPE"
(bande),
alors
que
la
méme
position
sur
les
canaux
5
à
6
est
marquée
“PHONO
L”
(GAUCHE)
et
“PHONO
В”
(DROIT).
Quand
la
position
TAPE
des
canaux
1
-
4
est
sélectionnée,
l'entrée
TAPE
IN
correspondante
(voir
panneau
arriere)
est
sélectionnée
en
tant
qu'entrée
plutót
que
le
canal
INPUT
(entrée).
Quand
la
position
PHONO
des
entrées
5
et/ou
6
est
sélectionnée,
le
canal
d'entrée
PHONO
correspondant
(PHONO
GAUCHE
“L”
ou
PHONO
DROIT
“Н”)
est
sélectionné.
Les
positions
de
sensibilité
—50/—35/—20
dB
sur
le
sélecteur
d'entrée
vous
permettent
d'adapter
la
sensibilité
d'entrée
des
canaux
à
la
source,
comme
par
exemple
avec
un
microphone,
avec
des
instruments
de
musique
électroniques
ou
avec
des
sources
à
niveau
ligne.
Cela
vous
permet
d'utiliser
à
peu
près
n'importe
quelle
source
avec
n'importe
quel
canal
d'entrée
sans
surchager
la
table
de
mixage
électronique.
La
plupart
des
microphones,
et
spécialement
ceux
de
type
17:
RECORDING MIXER
MODEL RM602
10
12
électrodynamique,
donnent
de
meilleures
performances
quand
le
sélecteur
d'entrée
est
réglé
sur
—50
dB.
Certains
microphones
à
condensateur
de
niveau
élevé
et
certains
microphones
à
electret
peuvent
demander
un
réglage
de
—35
dB.
Le
réglage
de
—35
dB
est
idéal
pour
des
entrées
directes
de
guitares
électriques
et
de
basses.
Le
réglage
—20
dB
est
le
réglage
de
“niveau
ligne",
acceptant
des
sorties
de
la
plupart
des
sources
de
niveau
lignes:
certains
synthétiseurs
et
claviers
électroniques,
ainsi
que
la
plupart
des
sources
audio
normalisées
(magnétophones,
etc).
La
position
TAPE
des
quatre
premiers
canaux
d'entrée
vous
permet
de
passer
des
sources
d'entrée
aux
sorties
d'un
enregistreur
multipiste
à
4canaux
sans
avoir
à
reconnecter
les
cábles.
Cela
est
particulierement
utile
quand
vous
désirez
remixer
l'enregistrement
d'une
bande
4
pistes
sur
une
bande
stéréo
standard.
Les
positions
PHONO
L
et
PHONO
В
des
sélecteurs
des
canaux
5
et
6
dirigent
la
sortie
de
l'amplificateur
égaliseur
phono
incorporé
RM602
(voir
panneau
arrière)
vers
les
canaux
5
et
6;
toutes
les
commandes
de
ces
canaux
seront
alors
utilisables.

2. EGALISEURS AIGU ET GRAVE (HIGH & LOW EQ)
Les commandes HIGH EQ et LOW EQ fournissent un
contrôle de tonalité sur chaque canal d'entrée. La
commande HIGH (AIGU) fournit une accentuation ou
une réduction de plus ou moins 15 dB dans la bande de
fréquence au dessus de 10 kHz (en pente), tandis que la
commande LOW (GRAVE) permet une accentuation ou
une réduction de méme amplitude des fréquences en
dessous de 100 kHz.
L'égaliseur aigu (HIGH EQ) est précieux lorsque vous
désirez accentuer les hautes fréquences de certains
instruments (comme par exemple des cymbales), ou
lorsque vous désirez réduire le souffle et le bruit de
canaux qui n'ont pas de fréquences essentielles dans la
bande au dessus de 10 kHz.
légalisation grave (LOW EQ) peut être accentuée pour
rendre les basses plus graves, ou réduite pour minimiser
les ronflement à basse fréquence ou les effets de
proximité d'un microphone.
Réponse
И
ТГ КГК НОИ ERA ҮК E LU БЕН ЕРДІ ШЕН тт ү Т у Т
AE
УЛ
Ik
Fréquence
3. NIVEAU DE DEPART D'EFFETS (EFFECTS SEND
LEVEL)
Cette commande détermine la quantité de signal de ce
canal envoyée au circuit commun interne d'effets de
mixage. Ce circuit commun d'effets alimente le jack de `
départ d'effets (EFFECTS SEND)— par la commande
principale de départ d'effets (voir la section principale)—
qui alimente normalement un dispositif d'écho ou de
réverbération. Disposer de commandes de départ d'effets
indépendantes sur chaque canal d'entrée signifie que le
niveau d'effets appliqué au signal de chaque canal peut
est réglable indépendamment.
Le signal envoyé au circuit commun d'effets est “après
egaliseur/atténuateur’, cela signifie que le signal est
pris à partir d'un point qui se situe après I’ égaliseur etle
circuit de l'atténuateur.
4. COMMANDE PANORAMIQUE DE CONTRÓLE
(MONITOR PAN CONTROL)
. Une des caractéristiques les plus intéressante du
RM602 est son circuit. commun de contrôle stéréo.
indépendant qui permet d'écouter un mélange stéréo
des signaux du canal d'entrée ou de bande complétement
18
indépendants. La commande panoramique de contróle
détermine la position du signal de ce canal dans le
champ sonore du circuit de contrôle stéréo. Рп tournant
la commande panoramique complétement vers la
gauche, on envoie le signal seulement au circuit commun
de contrôle de gauche—cela signifie que vous entendrez
le signal provenant seulement du haut-parleur de
contróle de gauche. Réciproquement, en tournant la
commande complétement vers la droite, on envoie le .
signal au circuit commun de contróle de droite |
seulement. En positionnant cette commande entre
l'extréme gauche et l'extréme droite, on envoie une
quantité de signal correspondante à chacun des circuits
communs, permettant ainsi au signal d’apparaitre à
l'emplacement correspondant du champ sonore stéréo.
5. SELECTEUR DE CONTROLE POST/BANDE
(CANAUX 1—4)
SELECTEUR DE CONTRÓLE POST/STEREO
GAUCHE (L) OU STEREO DROITE (R) (CANAUX 5
& 6)
Surles canaux 1 à 4, ce sélecteur détermine si la source
d'entrée du canal (POST) ou si le signal d'entrée de
bande correspondant est envoyé au circuit commun de
contróle.
Sur les canaux 5 et 6,le choix est entre la source d'entrée
du canal ou les signaux du circuit commun de mélange
stéréo gauche (canal 5) ou droit (canal 6). Le fait que la
position du signal du canal est identifiée par “POST”
signifie que le signal du canal est dérivé à partir d'un
point qui se situe aprés les étages de l'égaliseur et de
- l'atténuateur.
6. NIVEAU DE CONTRÓLE
Cette commande détermine la quantité de signal de ce
canal (ou du signal de bande ou du circuit commun
stéréo sélectionné) qui alimente le circuit commun de
mélange de contróle stéréo par la commande
panoramique de contróle dont nous avons parlé plus
haut. Des commandes de niveau de contróle
indépendantes sur chaque canal permettent au mélange
de contróle d'étre composé indépendamment des
atténuateurs de canal d'entrée.

7. COMMANDE PANORAMIQUE (PAN)
Cette commande a le méme effet que la commande
panoramique de contróle dont nous avons parlé plus
haut, sauf que le signal du canal est affecté au circuit
commun de programme principal qui alimente les sorties
principales stéréo du mélangeur.
La fonction panoramique est une des fonctions les plus
“banales” qu'une table de mixage stéréo peut exécuter,
permettant la localisation acoustique de chaque
instrument ou groupe d'instruments à n'importe quel
emplacement désiré dans le champ sonore stéréo. Le
son d'un instrument donné peut sembler provenir du
haut-parleur de gauche, du haut-parleur de droite ou de
n'importe quel endroit situé entre ces deux haut-parleurs.
Ce réglage du signal de chaque canal d'entrée s'effectue
en utilisant des “potentiomètres panoramiques”. La
position de ces potentiométres panoramiques se
rapporte directement à la position accoustique du signal
du canal respectif: le potentiométre panoramique tourné
complétement dans le sens des aiguilles d'une montre
produira un son provenant du haut-parleur du canal
droit, le bouton tourné complétement dans le sens
contraire des aiguilles d'une montre produira un son
provenant du haut-parleur du canal gauche, le bouton
réglé sur une position intermédiaire produira un son
localisé en conséquence, c'est à dire en un point situé
entre les haut-parleurs de gauche et de droite.
Les potentiométres panoramique peuvent aussi étre
utilisés pour créer un effet de “glissement” d'un
instrument de musique d'un côté de la “scène” sonore
stéréo à l'autre.
Généralement, vous utiliserez les boutons panoramiques
pour créer l'image accoustique désirée.
8. ATTENUATEUR D'ENTREE (INPUT FADER)
Les atténuateurs d'entrée sont les éléments qui
fournissent la fonction effective de mixage sur une table
de mixage. ІІв permettent des réglages individuels de
niveaux des six sources d'entrée afin de vous donner la
possibilité d'obtenir le juste équilibre général entre les
instruments, les voix ou tout autre source sonore que
vous mixez.
Ce sontles commandes que vous utiliserez le plus, et la |
facon dont vous les utiliserez pourra faire la différence
entre un excellent son et un son médiocre. Le meilleur
rapport signal sur bruit, le minimum de distorsion et la
meilleure qualité sonore sont généralement obtenus en
réglant approximativement les atténuateurs entre 1/3
et 3/4 de l'échelle d'atténuation. Les réglages
d'atténuation trop haut ou trop bas doivent étre évités
en accroissant ou en réduisant le niveau de la source à
chaque fois que cela est possible.
La plupart des claviers électroniques et des guitares
électriques ont une commande de niveau de sortie, et le
niveau de sortie du microphone peut être réglé en `
jouant sur la distance quile sépare de la source sonore.
19.
SECTION PRINCIPALE
9. COMMUTATEURS DE SORTIE DE BANDE (TAPE
OUT) |
Plutót que de toujours avoir les canaux d'entrée 1 à 4
alimentant les prises de sortie de bande (TAPE OUT),
ces commutateurs vous permettent d'envoyer le signal
du circuit commun stéréo de gauche aux prises TAPE
OUT 1 ou 3, et le signal du circuit commun stéréo de
droite aux prises TAPE OUT 2 ou 4. Cela vous permet de
recomposer le système pour mixer les canaux d'entrée
en stéréo sur le magnétophone connecté aux prises
TAPE OUT.
STEREO L Signal
TAPE OUT ` LINE IN STEREO L Signal
TAPE OUT LINE IN
СНІ Signal menge Эл Cum CHI Signal
CH3 Signal CH3 Signal
CH2 Signal
CHA Signal
STEREO R Signal
10. RETOUR D’EFFETS
La sortie du dispositif d'effets que vous utilisez
(normalement écho ou réverbération, alimenté par le
jack de départ d'effets (EFFECTS SEND)) est renvoyée
au jack de retour d'effets (EFFECTS RETURN) et
alimente le circuit commun de mixage stéréo par а
commande de retour d'effets. En d'autres mots, cette
commande détermine la quantité du signal traité
extérieurement qui est remixé dans le programme
stéréo principal.
11. ENTREE AUXILLIAIRE (AUX IN)
Le RM602 a une paire de bornes d'entrée auxiliaire
(AUX IN) qui permettent de mixer un signal stéréo
'" supplémentaire avec les sources présentes aux six
canaux d'entrée. La commande AUX IN règle le niveau
du signal AUX IN en relation avec le reste du programme.
Ce que vous connectez aux bornes AUX IN dépend
entièrement de votre utilisation spécifique, mais voici
tout de тете quelques exemples:
1. Vous pourriez connecter les sorties d'un
magnétocassette aux bornes AUX IN et reproduire
une bande de votre groupe préféré. Ensuite vous
pouvez mixer votre propre instrument avec et jouez
en suivant la musique; c'est une maniére formidable
de s'entrainer.
2. En utilisant la même connexion que dans l'exemple
ci-dessus, le magnétocassette peut fournir une
musique de fond pendant que vous mixez avec cette
musique de fond des commentaires et/ou des effets
spéciaux pour votre spectacle audio-visuel et.
enregistrer le programme mixé sur un second
magnétophone.