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)

YAMAHA

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INPUT

SECTION

(P.

3)

AUX

IN

&

MASTER

OUT

SECTIONS

(P.

5)

[=]

[5]

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|

[>]

@

Phase

Reverse

switch

This

switch

reverses

the

phase

of

the

XLR

connectors.

In

the

normal

position

(switch

up),

2

is

positive

(hot),

and

3

is

negative

(cold),

and

input

and

output

signals

are

the

same.

Reverse

phase

by

depressing

this

button,

making

2

negative

(cold)

and

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

“

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FREQUENCY

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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

4

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AUX

IN

|

AUX

IN

|

ON

AUX

IN

|

Ж

“о

(+4dB)

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IN

2

AUX

IN2

|

Вэ

o

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(+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

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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

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

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

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

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"

|

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MASTER

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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

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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

Yamaha MC-Series User manual

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