Yamaha MC-Series User manual

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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)
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INPUT SECTION
(P. 3)
AUX IN & MASTER
OUT SECTIONS (P. 5)

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@ 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.
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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.
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@ 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
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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.
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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
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MASTER | FADER
MASTER OUT |
CH INPUT o (4448)
IN/OUT (-104В)
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MASTER OUT 8
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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
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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
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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

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—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
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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

Ө PHANTOM power switch
These switches turn the internal phantom power supply
on and off in 4 channel groups. Turning the switch on
applies 48 V DC across pins 2 & 3 of the XLR-type
input channel connectors. Be sure to turn the power
supply OFF when it is not in use. Since phantom power is.
not normally required for high-impedance sources, the
phone jacks are not connected to the power supply.
IMPORTANT: The phantom power supply has no effect
on balanced dynamic microphones or line sources, even if
left оп, However, unbalanced sources, or transformers
with earthed center taps are liable to hum or even dam-
aged if connected to the phantom power supply when it is
on.
@ MASTER INSERT IN/OUT connectors
As with the input channel inserts, a single unbalanced
TRS jack permits access to the signal path between the
master mix buss and the master fader, with an automatic
closing device if this connector is not used. This is ideal
for inserting devices such as graphic equalizers (to reduce
feedback or “customize”? the sound of an individual
monitor mix) or a limiter to prevent monitor overload.
MASTER INSERT OUT
MASTER INSERT IN
© SUB IN (MASTER, AUX, CUE) connectors
These unbalanced input connectors allow а second
monitor mixing console to be “cascaded” with the main
monitor console in situations where more inputs are
needed (for example, a big band, orchestra, or a band
using multiple keyboards and complex drum micing). The
master sub, auxiliary sub, and Cue Sub Inputs are con-
nected with the corresponding Outputs of the second
console, enabling the master controls of the main console
to control both units.
If two MC2408M’s were used in this way, a total of 48
inputs would be available—sufficient for virtually any
conceivable situation.
@ AUX IN, AUX OUT connectors
These unbalanced input/output jacks, operating at the
professional level of +4 dB, are provided to allow effects
devices to be patched in. With an echo unit, for example,
they could be considered as echo send/return points, with
the levels adjusted by the controls on the front panel.
The AUX OUTs can also be used to supply two additional
monitor mixes, as AUX OUT controls are incorporated .
into each Input Channel. This feature could, for example,
feed a stereo tape deck, or provide monitor outputs for an
operator's speaker or a dressing room speaker.
Ө COMM (IN, TB OUT) connectors
The COMM IN jack enables the foldback or talkback
output of the house PA console to be connected to the
MC monitor mixing console for communication between
the two engineers. In this case, the —50 dB switch would
need to be used to keep the signals compatible.
This input can also be used as a microphone input, e.g.,
for communication with a stage manager, lighting
director, or conductor. The —50 dB switch is not required
for this application. In either case, the communications
input would be headphone monitored by the operator,
adjusting the level with the COMM IN control on the
front panel.
The TB OUT jack enables the monitor operator's talkback
signal to be sent to the house PA console or other loca-
tion, thus completing a 2-way communications setup.
Ө CUE OUT connector
This unbalanced output terminal supplies the signal for
the operator's monitor speaker system. When cascading
two monitor mixing consoles, it would be connected to
the CUE SUB IN jack of the main console. As it is rated at
*4 dB, it can feed another headphone monitoring system
for use by an assistant engineer, road manager, or even a
video director.
The level at this output is adjusted by the CUE/PHONES
level control on the front panel.
© CUE CONTROL connector
When two Yamaha MC monitor mixing consoles are
cascaded together, connecting the CUE CONTROL
terminals of both consoles, via a standard 1/4” jack cable,
allows operation of the INPUT CUE or AUX IN CUE
functions from either of the units.
This feature allows headphone monitoring of cue'd signals
by both the monitor engineer and an assistant if needed.
4) MASTER OUT connectors
Each master buss has an electrically balanced XL R-type
output connector, to feed the monitor amplifier systems.
(D POWER switch
Turning the switch on supplies power to the unit. The VU
meters illuminate to indicate power is on.
IMPORTANT: This switch should be OFF while connect-
ing the console to the mains.
10

IMPORTANT!
* This unit is designed to operate within +/— 10% of rated
voltage. `
* Ideally, these units should be used in a dust-free environ-
ment, with low humidity. Do not install them near heaters,
or near equipment that causes noise or hum. :
* After you have finished reading this manual, be sure to
store it in a safe place, together with the guarantee certifi-
cate.
AC POWER CONNECTION
(for models with 3-wire power cable)
Mixing consoles provided with a 3-wire power cable should
be AC grounded for safety and optimum shielding against
noise. If a 3-wire AC outlet is not available, or there is any
chance that the AC outlet is not grounded, a separate ground
wire must be connected from the console chassis to an earth
ground. Cold water pipes generally provide a good ground,
unless they are insulated by PVC plastic, or are fitted with a
water meter. Avoid hot water pipes and gas pipes.
When a convenient, confirmed ground is not available, use a
length of copper pipe driven into moist, salted earth to a
depth of at least 1.5 meters (5 feet). Alternatively, use a
chemical type grounding rod.
HOOK-UP CABLES AND HUM AVOIDANCE
The MC monitor mixing console's primary inputs and
outputs feature electronically balanced circuits ала
connectors. When these connectors are used with the
appropriate 2-conductor shielded cables (e.g. standard micro-
phone cables) these circuits provide optimum protection
against hum and noise pickup. The XLR type connectors are
wired with ріп 2 as “audio high" and pin 3 as "audio low",
on accordance with DIN and JIS standards. In the balanced
TRS connectors, the tip is audio high and the ring is audio
low. Pin 1 in the XLR connectors, and the sleeve in the TRS
connectors are ground.
Some professional audio equipment and microphones are
wired with pins 2 and 3 (XLR) reversed. Generally, this will
cause no problem other than a polarity reversal. However, if
such a piece of equipment uses a balanced-type connector for
an unbalanced input, or an adaptor is used to match an
unbalanced connector to a balanced input, the high side of
the audio circuit could be grounded. In this case, reverse the.
audio high and audio low wiring at one end of the connecting
cable, or use a suitable polarity-reversal adaptor. Regardless
of connector polarity, if hum is encountered try cutting the
shield connection at one end of the cable.
All unbalanced phone jacks are intended for use with
standard tip-sleeve 1/4" phone plugs and single-conductor
shielded cable. Do not attempt to reduce hum by cutting the
shield connection on these cables. Rather, restrict unbalanc-
ed cables to about 3 meters (10 feet), and try to set up the
system so that either (a) the equipment involved is all
connected to the same AC circuit, or (b) the third-wire AC
mains ground is used on only one piece of equipment,
typically the mixing console.
‘IMPORTANT: Breaking the ground path can create a
SHOCK HAZARD. When routing cables, especially ип-
balanced cables, avoid strong sources of electro-magnetic
interference or radio frequency interference generated by
electric motors, fluorescent lights, dimmer panels, etc. To
avoid crosstalk-induced feedback, never bundle microphone
cables with mixing console output cables: these cables should
cross at right angles where practical.
GROUNDING
Careful grounding procedures are essential for proper
operation, not only of the monitor mixing console, but of
the entire audio system. Many grounding techniques exist,
and a number of books have been written on the subject. The
following are good sources of information on grounding and
related subjects.
THE AUDIO CYCLOPEDIA by Howard M. Tremaine
(Pub. Howard W. Sams)
SOUND SYSTEM ENGINEERING by Don and Carolyn
Davis (Pub. Howard W. Sams)
GROUNDING AND SHIELDING IN INSTRUMENTATION
by Ralph Morrison (Pub. John Wiley & Sons)
“Ground loops” are often caused by multiple paths from the
equipment grounds to the AC mains ground (or earth
ground). Ground loops are a major cause of hum and noise in
an audio system. [n severe cases, ground loops can even cause
the equipment involved to break into oscillation. This can
cause distortion and even damage to amplifiers and speakers.
One way to avoid ground loops is to make sure that there is
only one path to the AC ground or the entire audio system.
А popular method is to cut the shield ground of balanced
cables at the input end of the cable. Another technique is to
ground all shields at one piece of equipment, typically the
console, and cut the shields at the other ends of the cables.
(Note: this is NOT possible with unbalanced cables).
CHECK MAINS VOLTAGES
Connect the mixing console to the AC mains only after
confirming that the line voltage and frequency are correct. A
simple check with a voltmeter can save your equipment —
and the show. It is also a good idea to check for proper
polarity at the AC outlet. The power switch on the console
should be OFF before connection to the mains. As a further
precaution, disconnect the console from the mains while
audio cables are being installed.

MATCHING INPUT CHANNEL SENSITIVITY ТО
THE SOURCE
The pad switch and gain control on each input channel
permit adjustment of the input sensitivity between —60 dB
апа 0 dB. With the pad out, the gain control has a sensitivity
range of —60 dB to —20 dB. With the pad in, this range is
—40 dB to 0 dB. This makes it possible to match the input
sensitivity to a broad range of input sources.
The following setting will generally apply:
Low output dynamic microphones: —50 dB.
Medium output condenser microphones: —40 dB.
Preamplified electric instruments and low level (creative
audio or hi-fi) line sources: —20 dB.
High level (professional) line sources: 0 dB
We suggest the following procedure for setting input levels:
1. Connect all input sources to their respective channels.
Monitor the mix on low-impedance type headphones. DO
NOT connect the console to any power amplifiers yet.
2. Set the CUE/PHONES level control to about “8”. You
will monitor each input channel by pressing the CUE
button on the respective input channel module.
ын
Set master fader #1 to about “6’’—this is the position that
gives rated output level, which can be checked on the
corresponding VU meter.
4. Adjust input channel mix level control #1, on the channel
that you are setting, to position “8”. This will send the
input signal to master output #1, at rated output level.
өл
Start with the lowest input sensitivity (PAD switch in the
DOWN position, GAIN at —20 dB). With the input CUE
button on, so that you can monitor the signal on head-
phones, gradually increase sensitivity using the GAIN
control until the signal is clearly audible. If sensitivity is
too low even with the GAIN control at maximum, return
this control to the —20 dB position, set the PAD switch in
the UP position, and slowly bring up the GAIN control
again. |
At the optimum setting, VU meter #1 should be peaking
around 0 VU. If the meter consistently shoots past 0 VU,
or if the signal sounds distorted in your headphones, the
input sensitivity is too high, and you will need to decrease
it until the levels are correct.
As a visual aid, the peak LED on the VU meter should
only light on occasional loud peaks. If it is on longer than
this, the input sensitivity should be reduced.
6. Repeat this procedure for each input channel, until all
channels are set for proper input sensitivity. Turn the
mixing console power OFF, and connect your outputs.
Turn the power ON again. You are now ready to adjust
the remaining mix controls on each channel. '
IMPORTANT: The console, and all signal processing
devices connected to it, MUST be turned on BEFORE the
power amplifiers are turned on. If this procedure is not
followed, the console turn-on transient could easily cause
damage to your loudspeakers. This procedure should be
reversed when the system is turned off.
12

13
USING THE EQ CONTROLS
The HIGH, MID and LOW EQ controls on each input
channel have no effect (‘flat response”) when centered.
Turning the controls clockwise boosts the frequency
response, while an anti-clockwise rotation from the center
position reduces frequency response. A full */—15 dB. of
filtering is available in each frequency range. The use of EQ
controls on a monitor mixing console is quite different than
a auditorium or studio console. Two important factors need
to be considered:
1. The particular needs of each performer are of course the
concern of the monitor mixing console operator. This unit
offers eight independent mixes (ten, if the AUX channels
are used for this purpose). A musician may desire his
instrument or voice to stand out above the other instru-
ments; he may prefer a homogeneous blend of sounds,
with nothing particularly prominent; or in special circum-
stances may wish to hear only a few selected instruments.
In each case, judicious equalizing can help to improve
clarity in any balance of sounds.
2. With several monitors on stage, pointing in various direc-
tions, feedback 15 always a concern, The careful use of
EQ, particularly the MID section, can help to reduce
peaks at the feedback frequency, and enable you to set
the overall level higher without risk of feedback. If
graphic equalizers are used (see SYSTEMS EXAMPLES)
fine feedback control can be carried out on individual
monitors.
A few pointers on the individual EQ controls:
HIGH
The HIGH EQ control adjusts frequency response above 10
kHz (Shelving type, +15 dB). Boosting this control adds
more “edge” or "bite" to string instruments, and more
"attack" to percussion sounds. Reducing high EQ can assist
in removing unwanted sibilance (lisping) from vocals, and
lessen string noise on guitars, breath noise on wind instru-
ments, and general hiss in the system. High EQ cut can make
a performer sound further away, particularly if used with
reverb, and help his sound to blend in with the accompani-
ment. It can also greatly reduce high-frequency feedback.
MID
The MID control permits peaking type boost or cut by 515
dB at the frequency determined by the setting of the MID
FREQ control. The range of this control is 350 Hz — 5 kHz.
Boosting mid-range (especially at around 2.5 or 3 kHz) can
greatly increase the "presence" of a sound. On vocals, this
will make the singer "stand out" from the backing, almost as
if they were closer to the listener. This control is ideal for
making any single instrument more prominent (a common
request from performers who wish to hear themselves in their
monitor) without increasing the overall level and risking feed-
back. Cutting the mid-frequencies has the opposite effect —
the sound will seem to recede and become "thinner", This
can help to reduce the power of the instrumental backing,
should a vocalist desire this.
LOW
Operating below 100 Hz (shelving type 515 dB), the LOW
control can add more “fullness” to vocals, guitars, and key-
boards, and give a more “mellow” quality to horns and
woodwinds. Cutting low frequencies can remove boominess,
reduce excessive energy from drums, and decrease AC mains
hum and stage rumble. When using compact monitor
speakers that are unable to handle powerful bass frequencies,
reducing the low EQ response on certain instruments can per-
mit high monitoring levels without distortion or system
damage. |
HIGH PASS FILTERS
The high pass filters incorporated into each master output
can also assist greatly in the reduction of bass boominess, and
protect your monitor speakers. The use of these filters will
give a clearer, brighter tone to the monitor mixes, which is
often highly desirable, particularly in large reverberant halls
or outdoor concerts where extraneous noise and wind can
make monitoring difficult.

(The MC1608M mixing console is shown. here. The MC2408M could equally well be used for any of these applications).
1. STAGE MONITORING SETUP
The following diagram illustrates a possible monitoring
situation, using a second sub-monitor mixing console
“cascaded”’ with the first console, in order to accomodate a
‘large number of inputs. For example, cascading an MC2408M
console with an MC1608 would provide a total of 40 inputs.
The CUE CONTROL terminals of both consoles аге
connected, providing full-function cueing from the main unit.
An echo unit is patched into the AUX 1 circuit. The AUX 1
controls on the input channels will function as individual
echo sends for each instrument, and the AUX 1 OUT control
is the master echo send. Echo return is adjusted using the
AUX IN level control, and the echo can be assigned to any of
the eight monitor mixes, according to the performers’ wishes,
using the AUX OUT ASSIGN switches. A mono tape deck is
patched into the AUX 2 input. For setting the overall level of
each monitor when the performers are not present, a tape
HOUSE Р.А.
MIXING CONSOLE
can be played through each monitor by pressing the AUX
ASSIGN switches and adjusting the appropriate master levels,
Each master output is connected to a monitor amp via a
graphic equalizer, for accurate equalization of each monitor,
and for “ringing out” (controlling feedback by lowering
frequency response at feedback peak frequencies) the system.
These equalizers could also be connected to the master
INSERT terminals. Two of the input INSERTS are connect-
ed to effects units — a compressor (useful for adding punch
to vocals, for example) and a noise gate (which could be used :
to eliminate hum from a guitar). Any effects units could be
used, in the input inserts for individual instruments, or in the
master inserts for individual monitor mixes.
The operator can monitor on headphones or via an amplifier/
speaker system connected to the CUE OUTPUT, by pressing
the appropriate cue switches.
SECOND MC MONITOR
MIXING CONSOLE COMPRESSOR
QUE OUT
QUE CTRL
| АЧХ OUT MASTER NOISE
12345678
GATE
ECHO
UNIT
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m 1 a Li a L] a ш Г]
ах LALALALA LAA A
OPERATOR'S PERFORMERS’
MONITOR MONITORS (х 8)
GRAPHIC EQ (x 9)
POWER AMP {x 9)
16 MIC/LINE INPUTS
RECEIVED FROM P.A.
CONSOLE OH FROM
SPLITTER BOXES
14

15
Communication between the monitor operator and the house
soundman is provided in the following manner: the monitor
operator plugs his TB microphone into the TB input
connector on the front panel. The signal from this input is
sent out via the TB OUT connector, to the ECHO RETURN
input of the main house console (e.g., а Yamaha MC2404).
If the echo return input is not available, an input channel
could be used to receive the monitor TB. This signal would
not be assigned to any output on the house console, merely
(ALTERNATIVE DIRECT CONNECTION)
———— чинээ онша CE арми
„| TALKBACK бы FB OUT
INPUT
ECHO
" Pom E
PHONES RTN
P.A. MIXING CONSOLE
(e.g. YAMAHA MC2404)
CUE'd for headphone monitoring by the engineer. The house
soundman sends his TB signal via his foldback output to the
COMM IN connector of the monitor console. In this case the
+4 dB pad should be inserted, and the COMM IN level
contro! adjusted to maintain a correct signal level.
If communication were required with a stage manager,
conductor, or dressing room, a microphone could be
connected directly with the COMM IN jack. In this case, the
*4 dB pad would not be needed.
] OMM ІМ өө ээж PHONES pee
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MIXING CONSOLE
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16

17
MASTER
INSERT IN/OUT INSERT IN/OUT
- 6.9 9 РЕАК
(°° 2 (%) CH VOL.
CH INPUT | d
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AUX OUT
~ 3 AUX OUT
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CUE OUT
А
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SUB
IN||V
4
30
ELECTRONIC
BALANCED
OUTPUTS
ONLY
‚-——---—--
20
CLIPPING
LEVEL
,
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PEAK
LED
TURN
ON
METER
PEAK
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ON
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8dB
MASTER
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PAD
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-30
-40
-50
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7
CH
INPUT
(GAIN
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и INPUTS
Input levels
Source
impedance
Input алақ |
impedance
Sensitivity"
-
Maximum
non-|
Connector
type
і clipping level
| . 50 ~ 2502 —72dB —60dB —30dB ,
т. LO Z AkQ Microphones (0.195mV) |(0.775mV} | (24.5mV) XLR type
CH INPUT
|
EE
or
—32dB
-2048
(Balanced)
6002 Lines (19.5mV) | (77.5mV) Phone Jack (TRS)
| OdB (Balanced)
нэ | 6002 Lines (775mV)
| MC1608M 17-16 | , —22dB —10dB +20dB Phone Jack (TRS)
CH INSERT IN Gas 1~24 тока 60022 Lines | (61,60м) | (245mV) (7.75%) (Unbalanced)
| | | —16ав -1048 --20dB Phone Jack (TRS)
10k 6002 Lines (122mV) | (245mV) (7.75V) (Unbalanced)
HI 2 10k2
(Мс1608М 1 ~ 18)
MC2408M 1`^ 24
MASTER INSERT IN (1 ~8)
| . - 8dB + 4dB +20dB Phone Jack
AUX IN (1, 2) 10k2 60052 Lines (309mV) (1.22V) (7.75У) (Unbalanced)
Phone Jack
MASTER 1 ~8, CUE, — 2dB + дав
SUB IN (ROX 1,2 А) 6002 Lines | (616ту) | (1.23%) (Unbalanced)
| | 7 | 50 ~ 2502 —62dB -5048 —10dB XLR type
TALKBACK IN нэ -10к9 Microphones | (0.616mV) | (245mV) | (245mV) (Unbalanced)
| | | 50 ~ 2502 —62dB -5048 —10dB
-5048 тока Microphones | (0.616mV) | (2.45mv) | (245ту) Phone Jack
COMMUNICATION IN + AdB 10k2 6002 Lines | 2 898 + 49B +209В (Unbalanced)
(309mV) | (1.23V) (7.75V)
m OUTPUTS
| | Output levels |
. Rated Maximum non- Connector type
level clipping level |
1502 6000 Lines + дав (1.23V) +22dB (9.76V) (Balance)
. Phone Jack
1500 6000 Lines + 4ӘВ (1.23%) +18dB (6.16%) (Unbalanced)
. . Phone Jack
1502 6009 Lines + 4dB (1.23V) +18dB (6.16V) (Unbalanced)
CUEOUT 1502 6000 Lines + 4dB (1.23V) +18dB (6.16V) (попе чаек,
CH INSERT оот(МС1608М 1716) 10kQ Lines | -1048 (245ту) | +20ав (775%) | Phone Jack (TRS)
MASTER
INSERT
OUT
(1
~
8)
10kQ
Lines
—10dB
(245mV)
Рпопе
аск
(Т8)
PHONES OUT | 1002 [ 82 Phones | m Stereo Prone дек
400 Рпопев 130mW а апсе
* Input level required to produce rated +49В output level.
eOdB.-0.775V r.m.s.
Output Е | Output Load .
impedance impedance
MASTER OUT (1 ~8) su
AUX OUT (1, 2)
420dB (7.75V)

20Hz ~ 20kHz +1/—3dB
(9600 ohms, +44В)
TOTAL HARMONIC DISTORTION Less than 0.05% (20Н2 ~
20kHz @600 ohms, +44В)
FREQUENCY RESPONSE
NOISE LEVELS*
Equivalent input noise —128dB (Rs = 150 ohms)
Residual output noise ~95dB (balanced output)
Master Out —70dB (Master fader — nominal** All input volumes
- — minimum) |
--64аВ (Master fader — nominal** One input volumes
— nominal* *)
—67dB (Aux output volume — nominal** Ail AUX
input volumes — minimum)
—62dB (Aux output volume — nominal** One Aux
? input volume — nominal**)
MAXIMUM VOLTAGE GAIN
Aux Out
CH INPUT — MASTER OUT 76dB
CH INPUT > AUX OUT 76dB
AUX IN > MASTER OUT 12dB
TALKBACK INPUT —MASTER OUT 66dB
MASTER SUB IN ~MASTER OUT 6dB
AUX SUB IN ~ AUX OUT 6dB
CUE SUB IN > CUE OUT 6dB
EQUALIZER CHARACTERISTICS
LOW +/—15dB (100 Hz shelving)
MID +/—15dB (350Hz ^" 5kHz peaking)
HIGH +/—15dB (10kHz shelving)
CROSSTALK (measured at 1kHz)
MIXBUSS to MIXBUSS _
INPUT CH to INPUT CH
Less than —60dB
Less than —60dB
VU METERS
MASTER 1778, AUX 1, 2 (0 VU = 4dB)
PEAK INDICATORS
INPUT (red) Lights 3dB below clipping
VU (геа) Lights 8dB above 0 VU
POWER REQUIREMENTS (Usable voltage range)
US & Canadian models 120V (105V ^ 130V), 60Hz
General model 110V 7 120V (115V + 15%)
220V ^ 240V (230V X 1596), 50/60Hz
POWER CONSUMPTION
US & Canadian models 70W
General model 80W
DIMENSIONS (WxHxD)
МС1608М 919 тт x 185.5 mm x 654.3 mm
(36-3/16" x 7-5/16" x 25-3/4"')
MC2408M 1232 mm x 185.5 mm x 654,3 mm
(48-1/2" x 7-5/16" x 25-3/4")
WEIGHT
MC1608M 26 kg (57 Ibs. 3 oz.)
MC2408M 33 kg (72 Ibs. 10 02.)
* Measured with a —6dB/octave LPF @12.7kHz.
**Nominal = бав below maximum.
OdB = Q.775V r.m.s.
Specifications subject to change without notice,
-
@
YAMAHA
NIPPON GAKKI СО, LTD. HAMAMATSU, JAPAN
84110.5 [3 (D Printed in Japan.