Yamaha MC-Series User manual

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YAMAHA -
MC-Series
Mixing
Consoles
|
Tables
de
mixage
de
la
série
MC
мноо ааг сег! Me- Serie
Operating Manual
Manuel d'utilisation
Bedienungsanleitung
MC1602

Congratulations!
You are the proud owner of a Yamaha MC-series Mixing Console.’ Whether you
chose the 8, 12 or 16-channel model, your Yamaha mixing console is a high-quality
product that will give you superior performance in a wide range of applications. In |
addition to offering a versatile mixing system, the MC-series consoles offer electron-
ically balanced inputs and stereo outputs to maintain optimum ‘signal quality over
long cable runs, a versatile 3-band equalizer with sweepable mid-frequency EQ. on
each input channel, three independent AUX .submix systems for external effects.
routing or additional power amplifier feeds, cue switches for independent monitor-
ing of all input channels and busses, and a built-in talkback system for convenient
communication. mE М
Of course, the MC-series mixing consoles also offer the high standard of quality and
great sound that Yamaha is famous for. We urge you to read this operation manual
thoroughly in order to make the most of the mixer’s many features and controls:
1
— — —— CONTENTS
PRECAUTIONS elle "m el vies. 2
FRONT PANEL CONTROLS ...... и... 3
їприї Сћаппеб........ ә зз: ~ A Ses. 3
. Master Control Section: DENEN TE - .. 6
REAR PANEL CONNECTORS AND CONTROLS . 9
APPLICATION
EXAMPLE
.....
0.5.00
cre
ee
ey
11.
ВЕОСК О!АбВАМ .................1....... 12.
LEVEL DIAGRAM... iere Rees 18.
DIMENSION CHART .... ee iere 13
SPECIFICATIONS ... ies. 14
SERVICE es ce D reels 15
а а aA aa A уље sol

PRECAUTIONS
. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to be
exposed to high temperatures or humidity—such as near
radiators, stoves, etc. Also avoid locations which are
subject to excessive dust accumulation or vibration which '
could cause mechanical damage.
. AVOID PHYSICAL SHOCKS |
Strong physical shocks to the unit can cause damage.
Handle it with care.
. DO NOT OPEN THE UNIT OR ATTEMPT REPAI RS OR
MODIFICATIONS YOURSELF
This product contains no user-serviceable parts, Refer all
maintenance to qualified Yamaha service personnel. Open-
ing the unit and/or tampering with the internal circuitry
will void the warranty.
. MAKE SURE POWER !S OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or dis-
connecting cables. This is important to prevent damage to
the unit itself as well as other connected equipment.
5. HANDLE CABLES CAREFULLY
Always plug andunplug cables—including the AC cord—by
gripping the connector, not the cord,
. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean the
unit, Wipe clean with a soft, dry cloth.
7. ALWAYS USE THE CORRECT POWER SOURCE
Make sure that the power source voltage specified on the
rear panel matches your local AC mains supply.
U.S. & Canadian Models: 120V AC, 60Hz
General Model: 110 — 120/220 — 240 V AC, 50/60Hz

‘FRONT
PANEL
CONTROLS
Input Channels
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—
^ Q9 PAD Switch
This switch attenuates the signal applied t
input circuitry when receiving high-level signals.
@ GAIN Control
This
control
adjusts
the
input
sensitivity
of
each
input
channel
between
—60
dB
(0.775
mV)
and —20 dB (77.5 mV) when the PAD switch is OFF (between —40 dB and 0 dB when the PAD
switch is ON). Continuously variable gain control allows optimum matching with virtually any
microphone or fine source.
@ CLIP LED Indicator
The CLIP indicator LED lights when the post-EQ signal of the corresponding channel's input
reaches a level 3 dB below the clipping level of the channel's circuitry. If the CLIP indicator
lights more than only briefly on high-level transients it is necessary to decrease the input sensi-
tivity of the channel using the GAIN control and PAD switch or, if this does not provide
sufficient attenuation, to reduce the output level of the source connected to that channel's
input.
@ 3-band Equalizer
The equalizer section provided on each input channel comprises shelving LOW and HIGH con-
trols, and a peaking MID control with a MID FREQ control that permits sweeping the midrange.
center frequency from 350 Hz to 5 kHz.
[HIGH | -15dB | 10kHz ^ ^ | Shelving
Maximum
4150B | 0.35~5kHz
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FREQUENCY (Hz)
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ы
ENND LET
Vee Г AFE
H
o the corresponding rear-panel H1-Z or LO-Z input by
20 dB prior to the head, amplifier and input gain control. The PAD switch effectively increases
the range of input signal levels that can be handled by the mixer, preventing overloading of the
ET

о AUX Controls (1, 2 & 3)
The
MC-series
mixing
consoles
Have
three
independent
AUX
busses
which
are
-fed
by
the
corresponding
AUX
controls
on
the
input
channels,
Each
AUX
contro!
determines
the
level
of
the
signal
sent
from
that
channel
to
the
correspondingly
numbered
AUX
mixing
buss,
which
in
turn
feeds
the
correspondingly
numbered
AUX
SEND
control
and
AUX
SEND
jack
on
the
console’s
rear
panel.
The
AUX
controls
can
be
used
to
determine
the
amount
of
signal
from
the
corresponding
input
channel!
sent
to
external
effect
devices
or
power
amps
fed
by
the
AUX.
SEND
jacks,
|
AUX
1
is
factory
pre-wired
for
pre-EQ/pre-fader
operation,
so
the
AUX
1
signal
is
not
affected
by
the
setting
of
the
channel
EQ
controls
or
fader,
An
internal
jumper
allows
the
AUX
1
control
to
be
rewired
for
post-
EQ/post-fader
operation.
*
AUX
2
and
AUX
3.are
factory
pre-wired
for
post-EQ/post-fader
operation,
so
the
AUX
2
and
AUX
3
signals
are
affected
by
the
setting
of
the
channel
EQ
controls
and
fader.
Internal
jumpers
allow
the
AUX
1
control
to
be
rewired
for
pre-EQ/pre-fader
operation.
An
internal
POST
EQ
jumper
allows
the
AUX
controls
to
be
further
re-configured
for
post-EQ/pre-fader
operation.
|
*
REFER
THE
ABOVE-MENTIONED
REWIRING
JOBS
TO
QUALIFIED
YAMAHA
SER-
VICE
PERSONNEL!
PAN Pots
The PAN pot determines the position in the stereo sound field at which the sound from that
channel
is
heard,
Rotated
fully
counterclockwise
the
channel
signal
will
be
delivered
from
the
left stereo output only, and will be heard at the far left of the sound field, If the PAN pot is
turned fully clockwise, the sound from that channel will appear at the far right of the stereo
sound field, If the PAN pot is set at its center position, the channel signal will be sent equally
to both the left and right channels, causing the sound to appear at the center of the sound field.
Intermediate PAN pot settings cause the sound to be heard at the corresponding position.
@ CUE Switch
When
the
CUE
switch
is
pressed,
the
pre-EQ/pre-fader
signal
from
that
channel
is
fed
to
the
PHONES
output
via
the
CUE/PHONES
level
control.
The
channel
cue
signal
will
be
added
to
any
other
active
cue
signal,
If
you
want
to
monitor
only
the
signal
from
a
single
channel,
make
sure
all
other
CUE
switches
are
turned
OFF.

Q Channel Fader | |
This is the main level control for each input channel. It determines the level of the signal sent
from the corresponding input charinel to the master stereo buss. The settings of the input
channel faders determine the "mix" or balance of sound levels between the instruments or
. other sources connected to the inputs.
* If a channel is not being used, its fader should be set to the minimum position to prevent
unwanted noise from being added to the main program signal.
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ond DOFF
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10
Master Control Section
0 10
AUX RTN2
STEREO
П СОЕ
МЕТЕВ
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9
PHONES
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5,3 19, OPEAK
1
3
~,
VU
L STR
о
AUX
SEND
(1,
2
&
3)
Controls
&
CUE
Switches
These
adjust
the
overall
output
level
of
the
auxiliary
-
“mixes”
set
up
using
the
AUX
1,
AUX
2
and
AUX
3
con:
trols
on
the
input
channels,
AUX
SEND
1
sets
the
overall
level
of
the
AUX
1
mix
signal
appearing
at
the
AUX
SEND
1
jack,
AUX
SEND
2
sets
the
overall
level
of
the
AUX
2
mix
signal
appearing
at
the
AUX
SEND
2
jack,
and
AUX
SEND
3
sets
the
overall
level
of
the
AUX
3
mix
appearing
at
the
AUX
SEND
3
jack.
These
controls
should
be
used
to
optimally
match
the
AUX
SEND
out-
put
level
of
the
mixing
console
to
the
input
sensitivity
of
the
effect
unit,
signal
processing
device
or
amplifier
used.
The
CUE
switches
associated
with
each
AUX
SEND
con-
,
trol
can
be
used
to
send
the
corresponding
AUX
SEND
signal
to
the
PHONES
jack
via
the
CUE/PHONES
level
control.
The
AUX
cue
signal
will
be
added
to
any
other
active
cue
signal.
If
you
want
to
monitor
only
the
signal
from
a
single
AUX
buss,
make
sure
al!
other
CUE
switches
are
turned
OFF.
Ф
AUX
ВТМ
1
&
AUX
RTN
2
Controls
These
controls
adjust
the
level
of
the
signal
received
at
the
·
rear-panel
AUX
RTN
jacks
and
mixed
into
the
main
stereo
program.
Since.
stereo.
AUX
returns
are
provided
(AUX
RTN
1
L
&
R,
AUX
RTN
2
L
&
R)
the
AUX
RE-
TURN
controls
simultaneously
adjust
the
level
of
the.
signals
appearing
at
the
corresponding
|.
and
R
return
inputs,
The
returned
L
and
R
channel
signals
are
sent
to
the
L
and
R
stereo
buss
lines.
If
only
a
single-channel
signal
is
returned
(i.e.
a
plug
is
inserted
into
only
the
L
or
R
return
jack),
the
signal
wil!
be
fed
to
both
the
L
and
R
channels
of
the
stereo
buss.

INPUT
|
`
|
|
k
=>
|
INPUT
[=
|
AUX
Y
[>>
У
2
SEND
Це
ашке
(+44В)
-
>> EBz——
(Aux SEND 3 CUE) | (AUX SEND 3)
INPUT
E KH
AUX RTN ! | |
(+4dB) + aa
LR `N
AUX RTN I
ES f.
AUX RTN 2 н а
(+4dB)
ii ~ 4 p
(AUX RTN 2)
(D Talkback ON Switch
Pressing
this
switch
activates
the
talkback
microphone
plugged
into
the
talkback
mic
connector,
allowing voice communication from the console operator to the STEREO, AUX 1, AUX 2or
AUX 3 busses according to the setting of the talkback assignment switches.
(D TB (Taikback) Level Contro!
Adjusts the level of the talkback signal sent to the selected buss,
(B Talkback Microphone Connector
This
female
XLR
type
connector
accepts
just
about
any
standard
50
~
600
ohm
microphone
for
talkback
pickup.
A
gooseneck-type
microphone
that
can
be
positioned
for
the
most
com-
fortable operation is an excellent choice.
(D Talkback Assignment Switches (AUX 1/AUX 2/AUX 3/ST)
These
switches
allow
the
talkback
signal
to
be
fed
to
the
STEREO,
AUX
1,
AUX
2
or
AUX
3
busses.
Any
number
of
switches
may
be
ON
at
the
same
time,
so
you
can
"talk
back"
to
a
number of the console's busses at once,
= STOUT L
о
ST
OUT
R
‹влск
[63
TALKBACK
(3%
|
(sods)
|
>
>
So»
AUX
OUT
1
—о~о———=
АОХ
ОЏТ
2

(B VU Meters and METER Assign Switches (AUX 1/AUX 2/AUX 3/CUE)
The MC-series mixing console feature three VU meters with built-in LED peak indicators for
monitoring signal levels. The rightmost meter pair(L — ST — R) continuously monitors signals
on the main stereo program buss. The AUX/CUE meter can be switched to monitor signals on
the AUX 1, AUX 2, AUX 3 or CUE busses by pressing the corresponding METER assign
switch. :
‚ш
а
INPUT
AUX SEND 1
AUX SEND 2 AUX 1,
AUX SEND 3
AUX
SEND
1
А
AUXYCUE
AUX
SEND
2
ћи
о
[+
AUX
SEND
3
e
Bio
“
с
(B CUE/PHONES Control and PHONES Jack
The
CUE/PHONES
control
adjusts
the
level
of
the
cue
signal
sent
to
the
PHONES
jack
so
you
can
set
the
most
confortable
headphone
monitoring
level.
The
stereo
phone
jack
accepts
any
standard stereo headphones. | | |
* The STEREO cue signal appears in stereo at the phones jack, while the channel and AUX
. cue signals are monaural. |
INPUT
AUX SEND 1
AUX SEND 2
AUX SEND 3
PHONES
CUE /PHONES
() STEREO CUE Switch
Turning this switch ON sends the main stereo program buss signal, in stereo, to the stereo
PHONES jack via the CUE/PHONES control. The STEREO CUE switch can normally be turned
ON to permit headphone monitoring of the main stereo program, but it must be turned OFF
to individually monitor input channel or AUX buss cue signals.

® STEREO Master Faders
The
STEREO
master
faders
independently
adjust
the
level
of
the
left
and
right
channel
main
stereo
program
buss
signals
appearing
at
the
STEREO
OUT
connectors.
STEREO L
FADER
INPUT
AUX RTN 1
AUX RTN 2-
ST SUB IN
ST OUT
(+4dB)
o
REAR
PANEL
CONNECTORS
AND
CONTROLS
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U.S.
&
Canadian
models
d
D 23

(D POWER Switch
Flip up to turn power ON, and down to turn power OFF.
The VU meter lamps will tight when the power is ON.
A) PHANTOM MASTER Switch
Turn this switch ON to apply +48 volts DC to the LO-Z
XLR input connectors when using phantom-powered
condenser microphones.
* NEVER turn the PHANTOM MASTER switch ON
when applying line-sources to the LO-Z inputs.
@ Hi-Z and LO-Z Input Connectors |
Each input channel offers a choice of two input connec-
tors: a balanced LO-Z (low-impedance) XLR-type connec-
tor and a HI-Z (high-impedance) tip-ring-sleeve 1/4”
phone jack. The LO-Z inputs are primarily intended for
use with professional low-impedance microphones or
electronic instruments having low-impedance balanced
outputs. The HI-Z inputs will accept either balanced or
unbalanced signals from high-impedance microphones,
musical instruments or other source equipment.
INPUT CH INSERT IN/OUT Jacks
These jacks permit inserting compressors, limiters or other
types of external signal processing equipment between. the
head amplifier and EQ stage of each input channel. The
jacks are tip-ring-sleeve types. in which the tip is SEND
(the output from the head amplifier), the ring is RETURN
(the input to the EQ stage), and the sleeve is ground.
Externa! equipment may be inserted using “Y” cables
which branch the SEND and RETURN lines from a tip-
ring-sleeve phone plug to two separate mono phone plugs.
INSERT OUT (tip)
INSERT IN (ring)
® AUX SEND (1, 2 & 3) Jacks
These jacks deliver the AUX 1, AUX 2 and AUX 3 mixes,
respectively, to feed an external effect device or power
amplifier. Nominal output level/impedance is +4 dB/
600 ohms.
@ AUX RETURN 7 (L & R) & AUX RETURN 2 (L & В) `
Jacks
The mono or stereo output from effect units fed by the
AUX SEND jacks can be returned to the main stereo
program mix via these jacks. Note that each AUX RE-
TURN offers independent return inputs for the left and
right busses, accommodating the return signal from effect
units featuring stereo outputs. Nominal input level/im-
pedance is +4 dB/600 ohms.
@ AUX SUB IN & ST SUB IN Jacks
These five jacks permit ‘‘cascading’’ two MC-series mixing
consoles to increase the number of available input chan-
nels. The AUX OUT jacks from the first (slave) console
should be connected to the corresponding AUX SUB IN
jacks of the second (master) console, and the STEREO
outputs from the slave console should be connected to the
corresponding ST SUB IN jacks on the master console,
@ STEREO OUT L & R Connectors
The MC-series mixing consoles provide balanced XLR con-
nector outputs from the main stereo buss. The signal
delivered is a stereo mix of the input channel signals and
the signals returned to the AUX RETURN jacks. The
STEREO OUT signal will normally be used to drive a
power amplifier and speaker system, powered keyboard
speakers or a main house mixing console. Nominal output
level/load impedance is +4 dB/600 ohms.
NOTE: The MC-series mixing console XLR connectors are
wired according to DIN specifications. Pin 1 is
shield (ground), pin 2 is hot (signal high) and pin 3
is cold (signal low).
10

APPLICATION EXAMPLE
In the system shown below the MC1602 is used as the main
console in a sound reinforcement system, Three vocal micro-
phones, six drum microphones, a microphone from the guitar
amplifier and another from the bass amplifier are connected
to 11 of the 16 available LO-Z inputs. The line-level stereo
outputs from an on-stage keyboard mixer and the stereo
outputs from an electronic percussion system are fed to four
HI-Z inputs, A total of 15 input channels are thus used, leav-
ing one free — just in case. The AUX 1 mix system feeds ©
on-stage power amplifiers and monitor speakers for the
STAGE MONITOR
SPEAKERS
AUX | AUX
SEND 1 SEND 2
9
GOYAMAHA
Маш моо ci
WW ro
YAMAHA CORPORATION
мия IN TAIWAN
HOUSE SPEAKER SYSTEM
A DRUMS MICS
STEREO OUT -
FROM KEYBOARD MIXER
un ed
STEREO OUT FROM |
ELECTRONIC PERCUSSION SYSTEM
performers, The AUX 2 system is used to drive a digital
reverb/effects unit to add ambience and effects where neces-
sary. The AUX 3. system feeds a tape recorder to make a
rough mono recording of the performance. The STEREO
OUT connectors drive the main house power amplifiers and
speaker system.
This is just one possible way of setting up the MC1602 for
a sound reinforcement application. The actual setup you use
will, naturally, be dictated by your own particular system
requirements, |
| AUX
| RTN 1
506
|e”
VOCAL
| MICS
ELECTRIC GUITAR
AMP MIC
ELECTRIC BASS
AMP MIC

BLOCK DIAGRAM
+аву
ond [> OFF `
-T
4
(PHANTOM
MASTER)
|
LOZ
4
3H
|
CH
мсаог
CHI~
CHB
|
TNPUT
CH
INSERT
UT
MCI202 CHI~CHI2
INPUT MCI602 CHI~CHI6 (-6dB)
О o . x
HIZ — С jd | ge 5 6i.
НЙ PO
2098
OFF
STEREO
CUE
"ON
-20-—-60dB -
CLIP
wy
МУ
>
/ Y Y ^^— (CHFADER
PRE
LOW MID HIGH EOST FADER
(MID FREQ}
AUX /CUE
M | AS Б>
AUX RTN I i |
|
(+448) R z
(AUX RTN I)
| К>
AUX Ne | | № 3
аав) i (RUX SENE 3) 1
(AUX RTN 2)
-———L |
ST SUB IN
(+448)
R |
AUX | ||
AUX SUB IN auxe ||
(+448)
—
AUX 3 ||
пк ры и р:
(тв)
(ТВ ом)
| с | PHONES
pl
(CUE/PHONES) |
CUE/PHONES
X
E 2 SEND
X SEND 2 | (+448)
12

.LEVEL DIAGRAM
о
pH
„Ө
CH FADER STEREO. LO
CLIPPING LEVEL
CLIPPING LEVEL
ST OUT
(чә о |PAD ON, GAIN -20
PAD OFF,
GAIN -20
PAD OFF, GAIN -60
DIMENSION CHART
MC802 : 450(I7-3/4")
MC 1202 : 590(23-1/4")
MCI602:730(28-3/4") |
аа ры ||
Е E
531(20-7/8")
O00 OO 6 ONO:
OO 0G со со
OO OO OD OO
Oooo 0 Ob OH.
НОЕ ә:
It LG ebek
— | од | да | om [om [ou | да | шы а | ла | ла | мг | |o ша
cui] ЕП снн
AAA
|
Unit: mm (Inch)
13

SPECIFICATIONS
Less than 0.1%, 20Hz — 20kHz @ +14dB
into 600 ohms.
+1 , —3dB, 20Hz — 20kHz @ +4dB into
600 ohms
Hum and Noise* (20Hz —128dB ‘equivalent input noise. '
— 20kHz, Rs=150 ohms, —90dB residual output noise (balanced
Input Gain max., Input outputs).
Pad @ OdB, Input —73dB atSTEREO OUT with master
Sensitivity —GOdB) fader at nominal level and all
channel faders at minimum level.
—64dB atSTEREO OUT with master
fader and one channel fader at
nominal level
—70dB at AUX SEND with AUX SEND
level controi at nominal level
and all channel AUX controls at
minimum level.
—64dB ат АЧХ SEND with AUX SEND
. and one AUX control at nominal
level.
Total Harmonic
Distortion
Frequency Response
Maximum Voltage Gain 84dB CH IN to STEREO OUT
84dB CH IN to AUX SEND 1
94dB CHIN to AUX SEND 2,3
20dB AUX RETURN 1,2 to STEREO OUT
10dB SUB IN to AUX SEND 1 — 3
10dB SUB IN to STEREO OUT
Input Channel Gain Control
—20 ~ —60dB variation in gain, stop to stop.
Input Channel Pad Switch
0/20dB of attenuation.
Input Channel Equalization
15dB maximum boost or cut in each of three bands,
HIGH: 10kHz (shelving)
MID: 350Hz — 5kHz (peaking)
LOW: 100Hz (shelving)
Crosstalk —60dB at 1kHz, adjacent input channels,
—60dB at 1kHz, input to output.
VU Meters (0 VU = +4dB Output)
3 illuminated meters.
STEREO L, STEREO R, AUX 1/AUX 2/AUX 3/CUE (switchable)
Clip Indicators
RED LED built into each input channel, Lights when post- EO
channel signa! is 3dB below clipping level.
Phantom Power
+48 VDC applied to electronically balanced inputs via 6. 8 k-ohm
limiting resistors. Master ON/OFF switch.
Power Requirements |
U.S. & Canadian models: 120V AC, 60Hz
Generai model: 110 — 120/220 — 240V AC, 50/60Hz
Power Consumption MC1602: 60 watts
MC1202: 50 watts
-MC802: 40 watts
Dimensions (W x H x D)
MC1602: 730 mm x 151 mm x 531 mm
(28-3/4" x 6" x 20-7/8"')
MC1202: 590 mm x 151 mm x 531 mm
(23-1/4" x 6" x 20-7/8")
MC802: 450 mm x 151 mm x 531 mm
(17-3/4" x 6" x 20-7/8"')
Weight MC1602: 18 kg. (39.7 Ibs.)
| MC1202: 15 kg. (33.1 Ibs.)
MC802: 12 kg. (26.4 Ibs.)
* Measured with a —6dB/octave LPF Q 12.7kHz.
e OdB 2 0.775Vr.m.s.
€ Specifications subject to change without notice,
14

15
= INPUT CHARACTERISTICS
| XLR-3-31 type
LO-Z 4k ohms 50 ~ 600 ohms | —80dB (0.08mV) —60dB (0.8mV) —34dB (15.5mV) (Balanced)
Microphones
"40dB(775mV)
|
—20dB
(77.5mV)
|
+6dB
(1557)
and
600
ohms
Lines!
—20dB
(77.5mV)
OdB
(775mV)
|
+26dB
(15.5V)
Рпопе
Јаск
(IRS)
ПЕСЕЕИ 600 ohms Lines| —26dB (38.8mV) ! —6dB (388mV) | +2008 (7.75У) [Phone Jack (TRS)
: 600 ohms Lines| —6d8 (388mV) +4ав (1.23%) — | «20d8 (7 75V) QU bala aed)
600
ohms
Lines}
—16dB
(123mV)
+дав
(1,23М)
DEI
(попе
ас
50 ~ 600 chms B _ XLR-3-31 type
i Microphones —70dB (0.25mv) 5048 (2.45mV) 24dB (48.9mV] (Unbalanced) -
HI-Z 10k ohms
XLR-3-32type _.
150 ohms 600 ohms Lines +4dB (1.23V) +24dB (12.3М) (Balanced)
> 150 ohms 600 ohms Lines +40B (1.23V) 420dB (7.75V) ое чаек
600 ohms —6dB (388mV) 420dB (7.75V) Phone Jack ims)
lOO
ohms
Stereo
Phone
Jack
.
40
ohms
Phones
130mW
(Unbalanced)
** Input level required to produce rated * 4dB output level.
e OdB - 0.775Vr.m.s.
SERVICE
This product is supported by Yamaha's worldwide network ‘of
factory trained and qualified dealer service personnel. In the event
. of a problem, contact your nearest Yamaha dealer,