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  9. Yamaha MC-Series User manual

Yamaha MC-Series User manual

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er
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MC1608M
HOW
ТО
USE
THIS
MANUAL
Thank
you
for
purchasing
a
Yamaha
МС1608М
/
MC2408M
monitor
mixing
console.
To
take
full
advantage
of
your
mixing
console,
we
recommend
that
you
read
this
manual
carefully.
After
reading
the
INTRODUCTION,
INSTALLATION
and
OPERATING
TIPS
sections,
examine
the
FRONT
PANEL
OPERATION
and
REAR
PANEL
CONNECTIONS
sections,
so
that
you
can
thoroughly
familiarize
yourself
with
this
versatile
unit.
The
SYSTEMS
EXAMPLES
section
suggests
some
applications
for
this
mixing
console.
It
is
impossible
to
illustrate
the
unlimited
number
of
setups
available
to
you,
but
this
section
gives
you
an
idea
of
the
flexibility
of
the
MC
monitor
mixing
console.
Finally,
the
last
four
sections
of
the
manual
supply
you
with
full
specifications,
block
diagram
and
level
diagram.
Serious
study
of
these
sections
will
answer
many
of
your
signal
routing
questions
and
enable
you
to
use
this
unit
to
its
full
capabilities,
Your
Yamaha
MC
monitor
mixing
console
should
provide
you
with
years
of
trouble-free
service,
and
satisfy
your
requirements
in
the
widest
possible
variety
of
applications,
and
is
designed
to
be
fully
compatible
with
all
professional
equipment.
ment.
|
INTRODUCTION
PES
М...
жж
жаб.
2
FRONT
PANEL
OPERATIONS:
INPUT
ӘЕСТІОМ.........................
3
AUX
IN
&
MASTER
OUT
SECTIONS
...........
5
CUE/PHONES
OUT,
COMM
IN
&
AUX
OUT
6ЕСТІОМ6......................
7
TALKBACK
SECTION
.....................
8
VU
METER
SECTION
.....................
9
REAR
PANEL
CONNECTIONS
.................
9
INSTALLATION
..........................
11
OPERATING
ТІРӨ,........................
12
_
SYSTEM
EXAMPLES
..............
she
14
BLOCK
DIAGRAM
........................
16
LEVEL
ПІАСВАМ.........................
17
INPUT/OUTPUT
SPECIFICATIONS
.............
18
SPECIFICATIONS
...........
ee
eee
г
19
А
.
INTRODUCTION
The
Yamaha
MC1608M/2408M
Monitor
Mixing
Consoles
are
versatile,
portable,
and
reliable.
They
aré
designed
to
provide
flexible,
efficient
stage
monitoring
for
performing
musicians.
The
ability
to
be
able
to
hear
his
own
performance
blended
with
an
individually
balanced
mix
of
his
fellow
musicians
gives
a
performer
the
opportunity
to
concentrate
on
his
art
totally,
and
these
units
are
created
to
give
exactly
this
engineer,
with
their
fully
professional,
compatibility,
uncom-'
promising
electronic
performance,
and
highly
versatile
control
capabilities.
The
mixing
console
you
now
own
offers
eight
different
monitor
mixes,
via
eight
busses
controlled
by
compact
rotary
controls.
Two
auxiliary
channels
may
be
used
for
a
variety
of
purposes
—
patching
in
echo
or
signal
processing
units,
feed-
ing
a
tape
deck
in
order
to
record
a
show,
two
additional
outputs,
or
providing
monitor
mixes
for
the
operator,
stage
manager,
etc.
Insert
patch
points
on
all
input
channels
and
out
busses
means
that
you
can,
for
example,
compress
an
individual
vocalist,
or
use
a
graphic
EQ
on
each
mix,
to
get
maximum
levels
without
feedback.
Judicious
equalizing
with
the
three
band
EQ
and
high-pass
filter
will
also
greatly
assist
in
elimi-
nating
unwanted
noise,
harmonics,
wind
noise,
or
micro-
phone
popping.
|
The
following
text
contains
many
similar
comments
in
refer-
ence
to
each
feature,
but
we
encourage
you
to
use
your
own
creativity
to
it's
fullest,
in
discovering
new
ways
of
using
your
console.
Most
of
the
features
on
Yamaha
MC
mixing
consoles
are
designed
to
be
multi-purpose,
and
this
console
can
function
as
the
center
of
an
almost
unlimited
number
of
system
configurations,
to
fulfill
your
specific
needs.
You
may
well
find,
after
using
your
MC
monitor
mixing
console
for
a
while,
that
there
is
a
simpler,
more
economical
way
of
connecting
the
unit
into
your
system.
This
would
certainly
time,
for
example,
if
you
are
on
a
hectic
touring
sche-
And,
if
needed,
your
MC1608M/2408M
can
be
more
than
just
a
monitor
mixing
console.
This
unit
can
function
effi-
ciently
in
many
different
mixing
situations.
No
matter
how
experienced
you
are,
your
new
MC
monitor
mixing
console
gives
you
the
opportunity
to
take
mixing
techniques
a
signifi-
cant
step
further
—
to
where
mixing
is
transformed
from
a
skilled
craft
—
to
a
creative
art.
*FOR
QUICK
REFERENCE,
THE
FRONT
PANEL
OPERATION
SECTIONS
ARE
ORGANIZED
ACCORDING
TO
THE
FOLLOWING
DIAGRAM
*
The
explanations
in
this
manual
are
organized
into
sections
corresponding
to
the
diagram
below.
VU
METER
SECTION
(P.
9)
CUE/PHONES
OUT,
COMM
IN
&
AUX
OUT
SECTIONS
(P.
7)
TALKBACK
SECTION
(P.
8)
YAMAHA
сэ
ТС
ЖЕЗ
(МЛ
ИМ
9/0-0
6:00,
|
9:0:0:0:0:02
9:6
6:0
зө!
|
5:9-0:0:0:0
M
GG
te
6:9.
|
GG
0:00!
©
©
©
©
m
©
9
9
©
©
морс,
29990909
өх
"Т
a
Toa
00000000;
|
оооооооо:9:оотото
о!
INPUT
SECTION
(P.
3)
AUX
IN
&
MASTER
OUT
SECTIONS
(P.
5)
[=]
[5]
c»
|
|
|
|
|
|
|
|
|
[>]
@
Phase
Reverse
switch
This
switch
reverses
the
phase
of
the
XLR
connectors.
In
the
normal
position
(switch
up),
pin
2
is
positive
(hot),
and
pin
3
is
negative
(cold),
and
input
and
output
signals
are
the
same.
Reverse
phase
by
depressing
this
button,
making
pin
2
negative
(cold)
and
pin
3
positive
(hot).
Out-of-
phase
signals
are
often
caused
by
differing
wiring
configurations
in
microphone
or
mixing
console
cables,
especially
due
to
differing
national
standards.
@
PAD
switch,
GAIN
control
and
PEAK
LED
These
offer
complete
control
over
the
input
sensitivity.
The
gain
control
continuously
adjusts
the
sensitivity.
of
the
transformerless
head
amplifier
between
—20
&
—60
dB.
If
this
is.
insufficient,
in
the
case
of
particularly
high
signal
levels,
depressing
the
pad
switch
will
insert
a
20dB
attenuator
before
the
head
amplifier.
The
red
LED
peak
indicator
lights
whenever
the
post-EQ,
pre-fader
signal
comes
within
3dB
of
clipping,
warning
the
operator
of
impending
channel
overload.
As
a
protective
measure
it
is
advisable,
when
inserting
a
signal
into
a
channel,
to
set
the
gain
control
to
minimum,
and
gradually
raise
the
setting
to
the
required
level.
НІСН,
MID
FREQ/MID
and
LOW
CONTROLS
These
low-noise,
low-distortion
equalizers
offer
three
bands
of
EQ,
with
+/—15
dB
of
gain,
in
the
following
ranges:
HIGH:
10
kHz
shelving
type.
MID:
3
350
Hz
—
5
kHz
peaking
type.
LOW:
100
Hz
shelving
type.
Response
is
flat
in
the
center
“0”
position.
The
variable
frequency
mid-range
control
is
versatile
enough
to
be
used
for
feedback
control.
мин
“
Тэн
энш
Жын
ИИ
„ЕЕ
ЕГА
ШАШ
ШШШ
НЕСІН
х,
АП
ТОА
аат
КДЕ
АША
ANTI
{ТЩ
ШШ
ЖАП
.
JA
N—--
|
Ses
|
ДМ
ИХ
HN
ТШ
"EDU
USA
НЫ
ш
Хе
=
ГІ.
ТЕН
8
ЕР
|
a
HEE
га
ГА
ШЕРЛІ”
ӘБЕУ
ЕНІП
АҒ
ТАҒЫН
Т
TEH
A
NSN
00
АИА
0
/
(Ж
mv
BS
І-
[EMITE
ГГ
ik
FREQUENCY
@
AUX
1
2
controls
These
controls
feed
a
post-EQ
signal
to
the
AUX
1
&
2
output
busses.
They
may
be
used
as
‘send’’
controls,
to
an
effects
unit
or
compressor;
as
outputs
to
a
tape
deck;
or
as
extra
monitor
outputs
for
the
engineer,
stage
manager,
etc.
NOTE:
The
AUX
signal
can
be
changed
from
pre-channel
volume
to
post-channel
volume
by
changing
an
internal
jumper.
(See
the
diagram
on
the
right
page.)
This
modification
can
be
made
at
any
service
center
(see
SERVICING
section).
Ө
Input
Mix
Level
controls
On
each
channel,
eight
smooth-operating
rotary
controls
adjust
the
level
of
the
signal
sent
to
the
master
outputs,
giving
eight
independent
monitor
mixes,
Conventionally,
the
method
would
be
to
“assign”
each
of
the
level
controls
to
each
of
up
to
eight
performers,
so
that
when
a
musician
asks
for
a
change
in
his
monitors,
you
know
exactly
which
control
to
go
for.
Nominal
output
level
is
obtained
with
the
control
at
position
8
on
the
scale.
Q
CH
ON
switch
The
CH
ON
switch
turns
the
channel
on
(switch
DOWN)
or
off
(switch
UP)
without
disturbing
|
previously
set
levels,
as
it
intercepts
the
signal
before
the
mix
level
controls
(after
Insert
in/out).
This
can
be
helpful
in
minimising
channel
noise
during
quiet
musical
passages
or
when
all
channels
are
not
being
used.
Ө
CUE
Switch
The
switch
allows
a
single
selected
input
channel
or
a
group
of
input
channels
to
be
monitored
through
the
operator's
headphones
or
monitor
speaker,
regardless
of
whether
a
master
CUE
button
is
on
or
off.
If
more
than
one
CUE
switch
15
pressed,
the
signals
from
the
corresponding
channels
are
summed
and
fed
to
the
headphone
output.
This
makes
it
easy
to
set
EQ
or
effects
on
a
channel
while
other
channels
are
"live",
and
to
locate
unwanted
noise
or
hum
from
instruments.
Please
note
that
the
input
CUE
LED
indicator
will
light
when
any
input
CUE
switch
is
on,
as
it
has
priority
over
the
master
CUE
switch.
This
switch
functions
whether
the
CH
on
switch
is
on
or
off.
А
PE
]
CH
INSERT
gu
PHANTOM
IN/OUT
(-10dB!
сәттооко
BES
(4
СН
COMMON)
с
аваа
ЮМ
ess
PEP
PEE
кр
=
nb
Эр
LOZ
о
09
0
9
0
09
0
0
xx
PWG
чачдчиачиа
оо
ла
ЕКЕЕЛТЕШ«І
4- ос
НІ
2
|
--
|
MCIGOBM
|
CH
I-~CH
16
MC2408M
|
CH
I7-
CH
24
75
—
a
@
AUX
IN
Assign
switches
Pressing
an
AUX
IN
assign
switch
will
send
the
auxiliary
input
signal
to
the
correspondingly
numbered
output
buss.
In
the
case
of
an
echo
unit
connected
to
the
auxiliary
input,
this
would
allow
any
or
all
of
the
players
to
have
echo
in
their
monitor
mix.
е
AUX
IN
level
control”
This
control
is
used
to
set
the
level
of
the
signals
received
at
the
auxiliary
inputs.
Nominal
level
is
obtained
with
the
control
set
at
8.
Again,
this
is
useful
if
the
auxiliary
inputs
are
used
for
echo
or
signal
processing,
when
it
will
function
as
a
"return"
and
provide
exact
matching
with
of
output
level
the
effects
unit
you
are
using.
AUX
CUE
switch
Depressing
the
auxiliary
CUE
button
mutes
all
master
CUE
signals
in
the
headphones,
permitting
the
engineer's
checking
of
only
the
selected
auxiliary
signal,
regardless
of
whether
a
master
CUE
switch
is
on
or
off.
Please
note
that
as
with
the
input
channel
cue
switches,
engaging
an
AUX
in
cue
switch
will
cause
the
input
CUE
indicator
to
light.
This
switch
can
be
used
whether
the
AUX
in
switch
is
on
or
off.
AUX
In
ON
switch
This
switch,
like
the
input
channel
ON
switch,
provides
an
instant
means
for
turning
the
auxiliary
input
on
or
off.
It
is
ON
in
the
DOWN
position.
MASTER
CUE
4
o
ш
Of
-
(M
m
stu
QM
5
ЕВЕ
268
ыышышышы
„кб
ОсоооОоОСбоххоаш
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аччлЫб5эЭВЗэ
БЕ
БАа-оьо
tV
AUX
IN
|
AUX
IN
|
ON
AUX
IN
|
Ж
“о
(+4dB)
^
{AUX
IN
2
AUX
IN2
|
Вэ
o
"o
(+4dB)
|
т
ч
AUXIN
2
CUE)
Ө
/
80
(high
pass
fiiter)
switch
Depressing
this
switch
inserts
a
filter
on
the
master
output
below
80Hz,
with
a
roll-off
of
18
dB/octave.
Monitor
speakers
are
often
compact
and
unable
to
handle
low
frequencies
at
high
levels.
This
filter
will
enable
you
to
roll-off
the
low
end
and
raise
the
overall
monitor
level,
as
-
well
as
reducing
wind
noise,
microphone
"popping",
and
АС
mains
hum.
НЕА
LUE
14141111
ШИШ!
111:
T]
AE
у
HIA
|2
RESPONSE(dB)
-10
I
|
Шири
ч
21111131
(15
|
-
Q
Master
CUE
switch
MASTER
SUB
IN
!
MUSTER
SUB
IN
8
Pressing
the
master
CUE
switch
permits
headphone
monitoring
of
a
single
master
output
(including
any
signal
received
at
a
master
insert).
If
more
than
one
master
CUE
switch
at
a
time
is
pressed,
al!
the
corresponding
signals
may
be
monitored.
This
switch
will
operate
whether
the
master
ON
switch
is
on
or
off.
!
An
indispensable
feature
which
allows
the
engineer
to
hear
the
same
monitor
mix
as
any
of
the
performers,
and
make
necessary
adjustments.
NOTE:
The
master
CUE
signal
will
be
muted
if
any
input
or
AUX
input
CUE
switch
15
|
depressed.
Master
ON
switch
The
master
ON
button
allows
instant
cancelling
of
the
master
output,
pre-fader,
without
affecting
any
settings.
It
is
ON
in
the
DOWN
position.
A
useful
feature
for
cancelling
a
performer’s
mix
if
he
is
not
required
to
play
in
one
song,
especially
if
it
is
a
quiet
passage
where
the
onstage
sound
could
affect
the
sound
reaching
the
auditorium,
Master
fader
Signals
from
the
channel
inputs,
auxiliary
inputs,
and
submaster
inputs
are
routed
via
the
master
mix
busses
to
a
100
mm
smooth
linear
master
fader.
Position
“6”
on
the
fader
scale
(marked
with
bold
arrows)
gives
nominal
output
level,
which
can
of
course
be
checked
on
the
VU
meters.
The
eight
faders
also
provide
a
good
visual
indication
of
the
overall
mix
levels.
MASTER
|
INSERT
IN/OUT
(-10dB)
MASTER
|
MASTER
2
MASTER
3
MASTER
5
MASTER
6
MASTER
7
MASTER
8
АЛ!
AUX
2
INPUT
CUE
CUE
CONTROL
MASTER
CUE
MASTER
|
MASTER
4
^
MASTER
LON
у
MASTER
|
FADER
MASTER
OUT
|
CH
INPUT
o
(4448)
IN/OUT
(-104В)
MASTER
8
d
MASTER
B
ОН
>{
AUX
IN.
MASTER
OUT
8
(4448)
i
|
|||
MASTER
8
INSERT
Ө.
E
г
d
у
||
ү
БЕЙ
ШЕБІ
MASTER
8
FADER
РНОМЕЗ
0
10
CUE/PHONES
B
INPUT
CUE
10
COMM
IN
COMMUNICATION
iON
IN
di
Ө
PHONES
This
is
the
output
for
the
operator's
stereo
headphones.
Low
impedance
type
stereo
headphones
should
be
used.
Any
CUE'd
signal,
and
any
input
to
the
COMM
IN
jack
(normally,
the
talkback
from
the
house
PA
console)
may
be
monitored
at
this
output.
CUE/PHONES
level
control
This
control
is
used
to
control
the
signal
level
at
the
CUE
output,
and
operator's
headphone
volume.
Nominal
level
is
obtained
with
the
control
at
8
on
the
scale.
INPUT
CUE
indicator
|
This
LED
indicator
will
light
when
any
of
the
channel
input
CUE
switches,
or
AUX
in
CUE
switches
are
turned
on.
Please
note
that
this
indicator
is
unaffected
by
the
master
CUE
switches;
even
if
the
master
CUE
switches
are
engaged,
this
indicator
will
not
light.
This
indicator
is
a
particularly
useful
visual
reminder
if
the
operator
has
temporarily
removed
his
headphones.
COMM
IN
+4
dB
switch
For
direct
communication
with
the
house
PA
engineer,
the
normal
procedure
is
to
connect
the
talkback
or
foldback
output
of
the
house
PA
console
to
the
COMM
IN
jack
on
the
rear
of
the
MC
monitor
mixing
console.
In
this
case,
the
—50
dB
pad
should
be
inserted
(switch
DOWN)
to
maintain
a
compatible
signal
level.
If
a
microphone
is
connected
to
the
COMM
IN
jack
(for
example,
for
use
by
a
stage
manager)
the
+4
dB
switch
can
be
turned
off
(switch
UP).
When
this
switch
is
in
the
OFF
position,
nominal
input
level
is
—50
dB;
when
it
is
ON,
nominal
input
level
is
+4
dB.
Q
COMM
IN
level
control
This
control
is
used
to
set
the
headphone
monitoring
level
of
the
communication
input
(COMM
IN).
Rated
input
level
is
obtained
with
the
control
at
position
8.
CH
INPUT
ИНИН
AUX
IN
-
||
Соми
IN)
|
750)
|
она
X
p^
|
MASTER
Г
MASTER
2
MASTER
3
MASTER
4
MASTER
5
MASTER
6
MASTER
7
MASTER
8
AUX
I
AUX
2
INPUT
CUE
CUE
CONTROL
MASTER
CUE
MASTER
LL
|
AUX
aye
о
|
PHONES
AUX
SUB
IN
I
AUX SUB
IN
2
CUE
SUB
IN
У
CUE
OUT
r1
144481
Ө
AUX
OUT
level
control
This
controls
the
level
of
the
signal
from
the
AUX
buss,
received
from
the
input
channel
AUX
controls
and
auxiliary
sub
inputs.
Nominal
output
level
is
obtained
with
the
control
at
position
8.
The
VU
meters
allow
visual
monitoring
of
the
output
level.
‚Ө
AUX
OUT
CUE
switch
Depressing
this
switch
allows
the
AUX
signal
mix
to
be
monitored
via
headphones
or
the
operator’s
monitor
speaker.
Regardless
of
whether
the
AUX
out
on
switch
is
on
or
off,
the
two
AUX
OUT
CUE
switches
may
be
used
singly
or
together.
This
is
useful
for
easy
checking
of
effects
levels,
or
any
signals
routed
to
the
AUX
busses.
Ө
AUX
OUT
ON
switch
Putting
this
switch
in
the
ON
position
(switch
DOWN)
turns
the
auxiliary
output
channel
on.
In
the
OFF
position
(switch
UP)
the
signal
is
cut
before
the
AUX
out
control,
allowing
the
channel
to
be
instantly
muted.
a
ЕШ
|
AUX
|
no
>
°
AUX
OUT
|
(AUK
QUT
LON)
-—
(+408)
AUX
2
(&UX
OUT
2)
>t
AUX
OUT
2
|
(+4981
MASTER
1
MASTER
2
MASTER
3
MASTER
4
MASTER
5
MASTER
6
MASTER
7
MASTER
&
AUX
|
AUX
2
INPUT
CUE
CUE
CONTROL
MASTER
CUE
a
CH
INPUT
AUX
SUB
IN
I
AUX
SUB
IN
2
@
Talkback
Assign
switches
These
switches
determine
to
which
buss
the
talkback
signal
is
routed.
Talkback
may
be
sent
to
any
of
the
eight
master
outputs,
the
two
auxiliary
outputs,
and
the
TB
OUT
connector.
This
provides
communication
not
only
with
the
performers,
but
also
with
the
house
sound
engineer
(normally
via
the
TB
OUT
facility),
stage
staff
or
even
dressing
rooms
(the
AUX
outputs
are
suitable
for
this
purpose).
@
Talkback
Input
A
low
impedance
microphone
should
be
connected
at
this
terminal
for
talkback
use.
Nominal
input
level
and
impedance
are
—50
dB/50—250
ohms.
This
offers
the
advantage
of
being
able
to
use
the
microphone
of
your
choice,
rather
than
limiting
you
to
a
built-in
microphone.
One
possibility
would
be
to
use
two-way
communica-
tions
headset,
which
would
provide
greatly
increased
mobility.
Ө)
Talkback
INPUT
LEVEL
control
This
control
allows
you
to
adjust
the
sensitivity
of
the
TB
input
channel,
to
match
the
microphone
you
are
using.
Nominal
output
level
is
obtained
with
the
control
at
8
on
the
scale.
@
TALKBACK
switch
Turning
this
switch
ON
(switch
DOWN)
activates
the
TB
microphone,
providing
communica-
tion
with
whichever
outputs
are
selected
using
the
Talkback
Assign
switches.
о
'10
INPUT
LEVEL
MASTER
I
MASTER
2
MASTER
3
MASTER
4
MASTER
5
MASTER
6
MASTER
7
MASTER
8
АОХ
|
AUX
2
INPUT
CUE
CUE
CONTROL
MASTER
CUE
TALKBACK
(TALK
BACK)
rp
INPUT
LEVEL
i
TALK
BACK
IN
(-5048)
»-
MASTER
OUT
|
du
»—
MASTER
OUT
8
Ш
AUX
OUT
|
|
AUX
OUT
2
»—
TB
OUT
сто"
|
YAMAHA
p"
ян
КИШТЕ
vul
Ay
Ms,
"SD
C
хол
тэн,
MONITOR
MINING
CONSOLE
1
508М
153
o9
Айын,
MASTER
1
МАЗТЕН
2
MASTER
3
MASTER
4
MASTER
5
MASTER
6
MASTER
F
MASTER
8
—16dB
—6dB
—1dB
+4dB
*7dB
(123mV)
|
(388mV)
|
(691mV)
|
(1.23V)
|
(1.
74V)
The
large,
illuminated
VU
meters
are
all
equipped
„with
built-in
peak
LED
indicators.
The
meters
accurately
indicate
post-fader
output
levels
of
master
channels
1-8,
and
AUX
1
&
2.
When
the
meters
read
0
VU,
nominal
output
levels
(*4
dB)
are
obtained.
The
peak
indicators
light
at
8
dB
above
0
VU.
|
A
signal
which
оп
the
VU
meter
has
an
acceptable
average
level
may
well
have
high
peaks.
The
peak
indicators
will
show
this
instantaneously,
allowing
the
operator
to
reduce
the
signal
level
accordingly,
to
avoid
distortion
on
transients
such
as
drum
sounds
or
synthesizer
attacks.
VU
METER
Reading
+4dB
Output
Level
эо
€
5
4
3
o
9
нарым
Ed
[55]
d
©
ЭС
@
LL
id
z3]
нип
катт,
Шэн
ким
шит
ween
мат
WA
му
m
мл
|
шимт
тунт
E
vam"
теу”
|
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нт
woot
‘wr
ЕС
©
555858555
55588864
86888888
PUT
iO
D
WUT
LOZ
өкүл
от
GOYAMAMA
мова
MODEL
МС
1бозм
NIPPON
GAEE
ÈU,
LTO:
Ө
Г
Зээ
EE
T
MCI608M
9
€
D
O
Ө
CHANNEL
INPUT
connectors
automatically.
A
particularly
useful
feature
allowing
Each
input
channel
has
an
electronically
balanced
low-
modifications
of
single
instruments
or
voices.
For
impedance
XLR
type
input
connector,
for
fully
profes-
example,
a
noise
gate
could
be
used
to
eliminate
monitor
sional
microphone
compatibility,
and
a
balanced
high-
hum
from
an
electric
guitar,
or
a
compressor/limiter
impedance
tip-ring-sleeve
type
1/4”
phone
jack
for
would
add
more
clarity
and
punch
to
a
lead
vocal.
(See
line
inputs.
An
internal
phantom
power
supply,
switch-
the
diagram
below.)
able
in
4-channel
groups,
is
provided
to
handle
condenser
mircrophones.
(See
paragraph
3
below).
|
Їл
a
normal
monitoring
situation,
the
signals
from
the
performers
are
sent
via
a
splitter
system
to
both
the
house
PA
console
and
to
the
monitor
mixing
console
at
these
input
connectors.
With
the
gain
control
and
20
dB
pad
(see
FRONT
PANEL
section)
virtually
any
source—
.microphone
or
line—can
be
handled
with
no
problem.
(See
the
diagram
at
the
right.)
|
Q
CHANNEL
INSERT
IN/OUT
connectors
A
single
tip-ring-sleeve
unbalanced
jack
gives
in/out
access
to
the
channel
input
section
between
the
gain
TRS
Wiring
Block
Diagram
control
and
the
equalizer
section.
If
no
jack
is
inserted,
|
the
insert
circuit
avoids
the
need
of
a
jumper
by
closing
i
р
М
GND
м
OUT