Yamaha MM30 User manual

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2

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YAMAHA

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ues

MIXER

WABO

OWNER'S

MANUAL

|

|

Thank

you

very

much

for

choosing

a

Yamaha

Producer

Series

MM30

Portable

Mixer.

The

MM30

has

been

carefully

designed

to

complement

the

Yamaha

Producer

Series

lineup

of

"portable

music

components,"

and

offers

extensive

mixing

versatility

for

virtually

any

application.

The

MM30

offers

four

input

channels

with

outputs

for

a

4-channel

multitrack

recorder,

a

stereo

program

buss

with

full

panning

on

each

input

channel,

a

built-in

BBD

echo

system

with

independent

echo

send

level

controls

on

each

input

channel,

independent

tone

controls

on

each

input

channel,

a

7-band

graphic

equalizer,

precise

LED

peak

meters,

and

more.

In

order

to

obtain

optimum

performance

from

your

MM30

in

terms

of

both

sound

quality

and

applications

versatility,

we

urge

you

to

read

this

owner's

manual

carefully.

CONTENTS

PRE-USE

CAUTIONS

PRE-USE

CAUTIONS

..................

1

€

Be

sure

to

turn

down

all

faders

when

making

CONTROLS,

FEATURES,

ANDA

input/output

connections.

FEW

HELPFUL

HINTS...............

2

€

Do

not

expose

the

MM30

to

direct

sunlight

or

FRONT

РАМЕ!.......................

2

other

sources

of

heat

such

as

radiators,

etc.

REAR

РАМЕ!........................

5

е

irreparable

damage

may

result

from

opening

the

CONNECTION

DIAGRAM

..............

6

MM3O

cabinet

or

attempting

to

alter

the

internal

BEGINNING

A

MULTITRACK

circuitry.

RECORDING

SYSTEM

................

7

€

Avoid

dropping

your

MM30

or

subjecting

it

to

SOME

APPLICATION

EXAMPLES

.........

7

any

type

of

shock,

as

impaired

performance

may

SPECIFICATIONS

....................

8

result.

BLOCK

DIAGRAM

...................

9

€

Do

not

attempt

to

clean

the

MM30

with

benzine

or

other

solvents,

as

these

may

cause

discolora-

tion

or

deformation

of

the

cabinet,

Clean

the

unit

with

a

soft,

dry

cloth.

CONTROLS,

FEATURES,

AND

A

FEW

HELPFUL

HINTS

Before

connecting

and

turning

on

your

MM30,

study

the

descriptions

of

its

controls

and

features

given

in

this

section

in

order

to

become

familiar

with

their

basic

operation.

It

may

also

be

a

good

idea

to

refer

to

the

block

diagram

at

the

back

of

this

FRONT

PANEL

manual

to

get

an

idea

of

how

the

controls

and

features

fit

in

with

the

internal

signal

routing

scheme.

The

descriptions

in

this

section

also

include

a

number

of

hints

on

how,

when

and

why

to

make

use

of

the

controls.

@

INPUT

SELECTOR

This

selector

has

three

positions:

TAPE,

LINE

and

MIC.

The

input

selector

is

set

according

to

the

source

which

is

required

to

be

fed

to

the

respective

input

channel.

When

a

line-level

source

(600

ohms

to

10

k-ohms,

—10

dB

nominal)

such

as

an

electron-

ic

keyboard,

effects

unit

or

a

Producer

Series

component

such

as

the

MR10

Drum

Machine

or

МАТО

Headphone

Amplifier

is

connected

to

one

of

the

MM30's

INPUT

jacks,

the

input

selector

should

be

set

to

LINE.

If

the

input

source

is

a

microphone,

then

the

selector

should

be

set

to

MIC.

When

per-

forming

a

mixdown

(or

“remix’’)

from

a

four-

channel

multitrack

tape

deck

or

monitoring

from

a

stereo

cassette

deck

the

input

selectors

of

the

appro-

priate

channels

should

be

set

to

TAPE.

In

this

case

the

outputs

from

the

deck

are

connected

to

the

MM30

TAPE

IN

jacks.

@

TONE

CONTROL

This

control

gives

you

basic

tonal

control

over

the

source

fed

to

each

channel.

Technically

speaking,

the

tone

control

is

a

10

kHz

shelving

type

with

a

+12

dB

boost/cut

range.

When

TONE

is

set

to

its

center

position

the

overall

frequency

response

of

the

respective

input

channel

is

essentially

flat.

That

is,

the

frequency

contour

of

the

input

signal

is

not

altered

in

any

way.

Rotating

TONE

clockwise

boosts

the

high

frequency

range,

thereby

creating

a

brighter

sound.

Rotating

TONE

counterclockwise

de-emphasizes

the

high

frequency

range,

thereby

creating

a

rounder,

more

mellow

tone.

Use

the

tone

control

for

overall

response

tailoring

as

needed.

TONE

FREQUENCY

RESPONSE

П

+12

RESPONSE

(dB)

100

Ik

FREQUENCY

(Hz)

ECHO

CONTROL

Most

electronic

instruments

including

keyboards

and

electric

guitars

sound

too

“‘dry’’

when

simply

amplified

and

fed

to

a

speaker

system.

Even

acoustic

instruments

and

vocals

can

sound

dull

and

lifeless

if

recorded

in

a

“dead”

room

that

does

пої

have

much

natural

reverberation.

That's

why

you

sound

so

good

when

you

sing

in

the

shower--bath-

rooms

generally

have

lots

of

natural

reverb

thanks

to

the

hard,

shiny

tiled

walls

and

lack

of

sound

absorbing

material.

Of

course,

it's

a

little

inconven-

ient

to

record

in

your

bathroom

to

get

a

reverberant

sound

(although

some

bathrooms

sound

really

good).

And

just

try

crowding

your

band

into

the

bathroom

for

rehearsal.

The

MM30

provides

the

answer

to

this

problem

with

a

built-in

BBD

(Bucket

Brigade

Delay)

unit

that

provides

a

high-quality

reverb-like

echo

effect.

The

ECHO

controls

deter-

mine

how

much

echo

is

added

to

the

signal

at

each

channel.

Just

a

touch

of

echo

is

nice

with

voice,

a

considerable

amount

can

be

applied

to

electric

guitar,

and

bass

guitar

is

generally

better

off

with

none.

Q

PAN

CONTROL

One

of

the

more

“conventional”

functions

that

a

stereo

mixer

performs

is

to

permit

acoustic

place-

ment

of

each

instrument

or

group

of

instruments

at

any

desired

location

in

the

stereo

sound

field.

i.e.,

the

sound

of

a

particular

instrument

can

appear

to

come

from

the

left

speaker,

right

speaker,

or

anywhere

in

between.

This

positioning

of

the

signal

from

each

input

channel

is

performed

using

“рап

pots’--PAN

on

the

MM30.

The

position

of

the

pan

pots

relates

directly

to

the

acoustic

position

of

the

respective

channel’s

signal:

pan

pot

fully

clockwise

means

that

the

sound

comes

from

the

right

channel

speaker,

fully

counterclockwise

means

that

the

sound

comes

from

the

left

channel

speaker,

and

at

intermediate

pan

pot

settings

the

sound

appears

to

be

located

at

the

appropriate

point

between

the

left

and

right

speakers.

The

pan

pots

can

also

be

used

to

create

the

effect

of

“floating”

an

instrument

from

one

side

of

the

stereo

sound

stage

to

the

other.

Generally,

you'll

use

the

pan

pots

to

create

the

desired

acoustic

image.

Ө

INPUT

FADER

The

input

faders

are

what

provide

the

actual

“mixing”

function

in

a

mixer.

They

permit

indivi-

dual

adjustment

of

the

levels

of

the

four

input

sources

so

you

can

achieve

just

the

right

overall

balance

between

instruments,

vocals,

or

whatever

you

are

mixing.

These

are

the

controls

that

you'll

be

using

the

most,

and

how

they

are

used

can

make

the

difference

between

excellent

and

mediocre

sound.

Maximum

signal-to-noise

ratio

and

minimum

distortion,

and

therefore

the

best

sound,

is

generally

obtained

with

fader

settings

between

about

1/3

and

3/4

of

the

fader

scale.

Fader

settings

that

are

too

high

or

too

low

should

be

avoided

by

increasing

or

decreasing

the

level

of

the

source

whenever

possible.

Most

electronic

keyboards

and

electric

guitars

have

an

output

level

control,

and

microphone

output

level

can

be

adjusted

by

changing

the

distance

of

the

microphone

from

the

sound

source.

Q

AUXILIARY

INPUT

FADER

The

MM30

has

а

pair

of

AUX

IN

terminals

that

make

it

possible

to

mix

an

extra

stereo

signal

in

with

the

sources

present

at

the

4

input

channels.

The

AUX

IN

fader

adjusts

the

level

of

the

AUX

IN

signal

in

relation

to

the

rest

of

the

program.

What

you

connect

to

the

AUX

IN

terminals

depends

entirely

on

your

specific

application,

but

here

are

just

a

few

examples

:

1.

You

could

connect

the

outputs

from

a

stereo

cassette

deck

to

the

AUX

IN

terminals

and

play

back

a

tape

of

your

favorite

band.

Then

you

can

mix

in

your

own

instrument

and

play

along--a

great

way

to

practice.

2.

With

the

same

setup

as

in

number

1

above,

the

cassette

tape

can

be

supplying

background

music

while

you

mix

in

a

narration

and/or

sound

effects

for

your

audio/visual

show

and

record

the

mixed

program

on

a

second

tape

recorder.

А

3.

Another

possible

use

for

this

feature

is

as

extra

inputs

if

the

four

main

input

channels

are

all

in

use.

An

electronic

keyboard

or

other

line-level

source

could

be

connected

to

the

AUX

IN

termi-

nals

with

a

phone-to-RCA

pin

plug

adaptor

and

mixed

in

with

the

rest

of

the

program

using

the

AUX

fader.

Of

course

you

don't

get

any

tone

control

or

panning

capability,

but

if

you

need

the

extra

channels,

they’re

available.

@

ECHO

FADER

The

ECHO

controls

on

each

input

channel

indivi-

dually

determine

how

much

of

each

input

signal

is

sent

to

the

internal

BBD

echo

unit.

The

ECHO

fader

determines

how

much

of

the

delayed

signal

(the

output

from

the

internal

BBD

echo

unit)

is

added

to

the

main

stereo

program

signal.

In

other

words,

the

ECHO

fader

is

sort

of

ап

“overall”

echo

control.

Q

MASTER

FADER

As

its

name

implies,

the

master

fader

is

an

overall

level

control.

It

adjusts

the

overall

output

level

for

the

STEREO

and

HEADPHONE

outputs,

but

not

for

the

LINE

OUTputs.

©

GRAPHIC

EQUALIZER

The

MM30’s

built-in

graphic

equalizer

provides

seven

individual

bands

of

equalization

control.

The

control

bands

are

centered

at

60,

150,

400,

1000,

2400,

6000

and

15000

Hz.

Each

of

these

frequency

bands

can

be

boosted

or

cut

by

up

to

12

dB

(+12

dB).

The

equalizer

is

‘‘graphic’’

because

the

boost/

cut

controls

for

each

band

are

linear

types,

and

their

setting

gives

you

a

“graphic”

representation

of

the

overall

equalization

curve.

The

things

you

can

do

with

the

graphic

equalizer

are

virtually

unlimited,

but

basically

it

gives

you

tremendous

sound

‘‘shaping’’

control.

Just

a

small

amount

of

boost

or

cut

in

any

band

can

dramati-

cally

alter

the

sound

of

your

program.

Although

it's

a

lot

of

fun

to

create

“wild”

sounds

with

heavy

EQ,

as

a

general

rule

it's

a

good

idea

to

avoid

over-

equalization.

Always

start

with

the

equalizer

controls

flat--so

your

ears

have

a

reference--then

try

boosting

or

cutting

the

band

that

is

most

likely

to

need

EQ

(you'll

get

a

feel

for

this

with

experience)

a

little

at

a

time.

You

may

have

to

EQ

more

than

one

band

to

get

the

desired

sound.

Always

remember,

though,

that

your

ears

have

a

short

memory!

That

is,

they

quickly

get

used

to

the

equalized

sound,

So

if

you're

not

sure

that

you

have

the

right

sound,

try

resetting

the

equalizer

controls

to

all

flat,

listen,

and

re-equalize.

Another

use

of

the

graphic

equalizer

is

in

reducing

acoustic

feedback.

If

you

get

a

feedback

how!

or

whine

when

using

microphone

inputs,

first

try

pointing

the

makes

away

from

the

monitor

speakers,

then

if

the

problem

persists,

use

the

equalizer.

Try

cutting

the

bands

in

the

frequency

range

where

you

think

the

feedback

is

occuring

all

the

way--one

by

one,

of

course--until

you

find

the

band

that

stops

the

feedback.

Then

raise

the

control

for

that

band

just

until

the

feedback

begins

again,

then

lower

it

just

until

the

feedback

stops.

You

have

thus

eliminated

the

feedback

with

the

minimum

possible

effect

on

the

response

of

the

rest

of

the

program.

EQ

FREQUENCY

RESPONSE

RESPONSE

(dB)

@

LED

PEAK

METERS

In

the

input

fader

section

we

discussed

the

impor-

tance

of

proper

fader

setting

in

order

to

achieve

the

best

possible

sound

quality.

The

MM30’s

LED

peak

meters

are

a

tremendous

aid

in

setting

optimum

fader

levels.

Two

meters

are

provided--one

each

for

the

left

and

right

stereo

output

channels.

Each

meter

consists

of

7

LED

segments

that

light

in

sequence

to

show

the

peak

signal

level

for

the

respective

channel.

Meter

display

range

is

from

—20

dB

to

+6

dB.

Levels

below

О

dB

are

displayed

in

green,

while

levels

higher

than

O

dB

are

displayed

in

red.

Watching

the

meters

you

can

easily

see

when

signal

levels

are

high

enough

to

present

a

danger

of

overload

distortion--

the

red

LEDs

will

be

lit

most

of

the

time.

On

the

other

hand,

if

the

meters

almost

never

reach

the

0

dB

level,

then

the

overall

program

level

is

too

low.

Once

the

optimum

program

level

has

been

set,

peaks

in

the

program

will

cause

the

red

LEDs

to

flicker

occasionally,

and

most

of

the

green

LEDs

will

stay

lit

most

of

the

time.

This

applies

mainly

to

the

average

music

program.

Some

types

of

program

will

have

a

completely

different

effect

on

the

meters,

requiring

appropriate

level

adjustment.

In

general,

though,

it

is

a

good

idea

to

avoid

a

lot

of

peaks

in

the

red

region.

Also

remember

that

when

only

one

instrument

is

playing

the

level

might

look

quite

low

on

the

meters,

but

when

instruments

connected

to

all

four

inputs

start

to

play

their

individual

levels

can

add

up

to

overload

distortion.

So

check

the

meters

when

the

entire

program

is

playing.

REAR

PANEL

@

TAPE

INPUTS

AND

OUTPUTS

Four

inputs

and

outputs

are

provided

for

direct

connection

to

a

4-channel

multitrack

tape

deck.

The

outputs

from

the

tape

deck

connect

to

the

MM30

TAPE

IN

jacks,

and

the

tape

deck

inputs

connect

to

the

MM30

TAPE

OUT

jacks.

The

tape

inputs

are

selected

for

mixdown

or

monitoring

by

setting

the

appropriate

channel

input

selectors

to

TAPE.

These

specialized

inputs

and

outputs

mean

that

the

tape

deck

can

stay

connected

all

the

time--unlike

many

more

expensive

mixers

with

which

you

have

to

keep

patching

and

repatching

cables

whenever

you

need

to

change

from

line

to

tape

input.

Ө

INPUT

JACKS

These

jacks

are

the

main

inputs

to

the

ММ30“5

four

input

channels.

They

accept

both

line-level

and

microphone

input

depending

on

the

setting

of

the

respective

input

selector

switch.

Standard

1/4”

phone

jacks

insure

compatibility

with

just

about

any

electronic

instrument

or

microphone--and

naturally

with

all

Yamaha

Producer

Series

compo-

nents.

STEREO

OUTPUTS

These

are

the

main

outputs

from

the

MM30.

They

carry

the

stereo

program

set

up

at

the

input

channels

and

AUX

inputs.

These

1/4”

phone

jacks

can

connect

directly

to

a

pair

of

“‘self-powered”

monitor

speakers

such

as

the

Producer

Series

MS10,

or

to

virtually

any

type

of

amplification

or

signal

processing

equipment.

@

HEADPHONE

JACK

This

is

a

convenient

feature

in

that

it

lets

you

directly

plug

in

any

standard

pair

of

stereo

head-

phones

for

monitoring

without

the

need

for

an

external

amplifier.

Ө

AUXILIARY

INPUTS

Any

line-level

stereo

(or

mono

if

necessary)

signal

can

be

added

to

the

main

program

by

these

terminals.

This

is

a

great

place

to

connect

the

outputs

from

a

stereo

cassette

deck,

for

example.

Q

LINE

OUTPUTS

These

terminals

deliver

the

same

signal

as

the

STEREO

OUT

jacks,

but

the

level

of

the

signal

is

unaffected

by

the

master

fader.

This

is

handy

if,

for

example,

you're

using

the

MM30

as

an

on-stage

keyboard

mixer.

The

STEREO

OUT

jacks

go

to

your

on-stage

monitors

so

you

can

adjust

the

monitor

level

yourself

using

the

master

fader,

and

the

LINE

OUT

terminals

go

to

the

main

sound

reinforcement

mixer

where

the

sound

man

controls

the

overall

level.

CONNECTION

DIAGRAM

The

connections

given

in

this

diagram

are

by

no

means

representative

of

all

the

possibilities.

With

a

little

imagination

and

ingenuity

you

should

be

able

to

adapt

the

MM30

to

just

about

any

system

configuration

you

need.

Portable

stereo

cassette

player

Drum

machine

MR10

(LINE

OUT)

(OUTPUT)

4-channel

multitrack

cassette

deck

MM30

REAR

PANEL

Synthesizer

CSO1

Monitor

speakers

MS10

(LINE

OUT)

(INPUT)

In

order

to

get

the

best

sound

with

electric

guitars

and

basses,

we

recommend

that

you

use

an

MA10

Yamaha

Headphone

Amplifier

preceding

the

MM30

inputs.

BEGINNING

A

MULTITRACK

RECORDING

SYSTEM

е

WHAT

YOU

NEED

Basically,

all

you

need

for

a

simple

multitrack

recording

setup

are

your

instruments,

a

couple

of

good

mikes

(if

you’re

going

to

be

recording

voice

or

acoustic

instruments),

a

4-channel

multitrack

recorder,

an

MM30

and

a

pair

of

headphones.

With

this

simple

system

you

can

create

surprisingly

complex

recordings

with

your

band,

or

by

yourself.

And

although

the

term

"'4-track

recorder”

seems

to

imply

that

you

can

only

record

4

individual

parts,

you

can

actually

record

up

to

ten

individual

parts

using

a

technique

known

as

“‘ping-ponging”

(for

details

on

this

and

many

other

recording

techniques,

refer

to

the

Yamaha

Multitrack

Guidebook).

There's

no

better

way

to

brush

up

your

compositions,

arrangements

and

playing

technique,

and

then

show

it

all

off

in

the

form

of

a

high-quality

demo

tape.

To

make

a

demo

tape

you'll

need

a

regular

stereo

cassette

deck

to

“mix

down”

to

from

the

original

4-track

master

tape.

е

MORE

INSTRUMENTS

FOR

MORE

CREATIVE VERSATILITY

Once

you

get

set

up

and

rolling

with

your

multitrack

system,

you'll

discover

that

the

more

instruments

you

have

available

the

better.

This

allows

you

to

create

more

diverse

tonal

textures

and

interesting

combinations

of

sounds

(can

you

imagine

10

tracks

of

guitar?

Interesting

at

first

but

it

would

soon

get

pretty

tiresome).

One

instrument

that

is

not

so

limited

in

terms

of

the

sounds

it

produces

is

the

synthesizer.

With

carefully

planned

synthesizer

“patches”

that

produce

a

diverse,

but

carefully

matched,

range

of

voices,

you

could

create

a

complete

composition

that

would

not

be

in

the

least

bit

tiresome.

That's

why

the

Yamaha

Producer

Series

includes

a

tiny-but-superb

monophonic

synthesizer

that

is

perfect

for

the

application:

the

С501.

Rhythm

is

another

problem

that

most

multitrack

recordists

encounter

sooner

or

later.

Unless

you're

a

drummer,

it's

probably

impractical

to

buy

or

borrow

a

complete

set

of

drums

for

your

"studio."

Once

again,

the

Yamaha

Producer

Series

comes

to

the

rescue

with

the

MR10

Drum

Machine.

It's

tiny,

light,

and

can

be

manually

"played"

as

well

as

providing

a

multitude

of

preset

auto-

rhythms.

And

it

sounds

like

drums,

too!

е

EXTRA

MONITORING

CAPABILITY

With

a

little

experience

your

recordings

should

start

to

sound

quite

professional.

At

this

point

you'll

need

a

bit

more

monitoring

versatility

than

a

pair

of

headphones

provides.

At

this

point

you

should

check

out

the

Yamaha

Producer

Series

MS10

Monitor

Speaker.

This

compact

speaker

features

a,

high-quality

built-in

20

watt

power

amplifier,

and

has

volume,

bass

and

treble

controls

on

the

front

panel.

That

way

you

don't

have

to

go

to

the

extra

expense

of

purchasing

monitor

speakers

and

a

stereo

amplifier.

A

pair

of

MS10's

wil!

provide

all

the

monitoring

capability

you

need.

е

MORE

TO

COME

The

Yamaha

Producer

Series

is

expanding.

More

and

more

products

that

will

help

you

make

professional-

quality

recordings

to

show

off

your

talent

will

become

available

in

the

near

future.

As

your

talent

and

technique

expand,

the

Producer

Series

will

be

right

there

with

you--whether

you

settle

for

a

modest

setup

or

go

on

to

put

together

a

large,

sophisticated

system.

SOME

APPLICATION

EXAMPLES

1.

The

MM30

provides

extensive

mixing

flexibility

plus

echo

and

graphic

equalization

for

superb

sound

at

band

practice

or

mini-concerts.

2.

Check

out

your

original

arrangements

or

make

top-quality

demo

tapes

with

an

MM30

and

a

А-сћаппе!

multitrack

recorder

(and

you

can

play

all

the

instruments

yourself!).

3.

The

MM30

makes

a

great

on-stage

keyboard

mixer.

You

can

control

the

balance

and

sound

of

your

keyboard

setup

before

sending

your

signal

to

the

sound

reinforcement

mixer.

4.

|f

you're

a

"videophile,"

you

need

a

good

multi-

function

mixing

system

for

post-production

work

like

adding

background

music,

narration

or

sound

effects.

The

ММЗО

is

ideal.

SPECIFICATIONS

Frequency

Response

THD

Hum

and

Noise

Tone

Control

Power

Requirements

Dimensions

(W

x

H

x

D)

Weight

+0

—2dB,

20Hz

—

20kHz,

10k-ohm

LOAD

Tape

Out

(—10dB),

Line

Out

(—10dB),

Stereo

Out

(—10dB)

Less

than

0.296

20Hz

—

20kHz,

10k-ohm

LOAD

Tape

Out

(—10dB),

Line

Out

(—10dB),

Stereo

Out

(—10dB)

—116dB

Equivalent

input

Noise

(E.!.N)

150

ohms,

Sourse

Stereo

Out

(one

ch.

volume

at

max.)

Tone,

Pan

at

mini,

G.

EQ

center

Echo

volume

at

min.

Master

volume

at

max,

Mic

position

+12dB,

Tone,

10kHz

Shelving

+12dB,

Graphic

Equalizer,

60,

150,

400,

1k,

2.4k,

6k,

15kHz

120V,

60Hz

AC

(UL,

CSA

Models)

110

—

120/220

—

240V,

50/60Hz

AC

(CEE

MODEL)

340

x

52.6

x

234

mm

(13-3/8"

x

2"

x

9-1/4")

2.2kg

(4

165.

13

oz.)

*

Hum

and

noise

measured

with

a

6dB/oct

filter

at

12.47kHz.

*

When

dB

represents

a

specific

voltage.

OdB

is

referenced

to

0.775V.

Specifications

subject

to

change

without

notice.

=

INPUT

SPECIFICATIONS

input

Level

Actual

Load

For

Use

Connection

INPUT

(1

~

4)

Impedance

50k

ohms

50k

ohms

50k

ohms

W/Nominal

Connector

600

ohms

600

ohms

600

ohms

Nominal

—40dB

(7.75mV)

—10dB

(245mV)

Max.

Before

clip

—20dB

(77.5mV)

10dB

(2.45V)

10dB

(2.45V)

Phone

jack

Pin

jack

AUX

IN

(L,

R)

п

OUTPUT

SPECIFICATIONS

Connection

5Ok

ohms

Actual

Source

Impedance

600

ohms

2dB

(0.976V)

Pin

jack

—10dB

(245mV)

—10dB

(245mV)

Output

level

Max.

before

clip

For

Use

W/Nominal

:

Connector

Nominal

STEREO

OUT

(L,R)

|

600

ohms

10k

ohms

—10dB

(245mV)

|

10dB

(2.45%)

|

Phone

jack

LINE

OUT

(L,R)

|

600

ohms

10k

ohms

—10dB

(245mV)

|

10dB

(2.45V)

Pin

jack

TAPE

OUT

(1~

4)

FREQUENCY

RESPONSE

600

ohms

10k

ohms

—10dB

(245mV)

10dB

(2.45V)

Pin

jack

RESPONSE

(dB)

[

T

-20

к

FREQUENCY

(Hz)

BLOCK

DIAGRAM

etd

eee

ао

:

RAPHIC

EQUALIZER

[шке

60

150.

400

чк

24K

6k

45K

F

E

irre

oe

>

eH

t

2

[1

о

il

ш

?

Я

ми!

о

}

DI

пр

БОРИ.

үү]

GENERAL

MODEL

ONLY

VOLTAGE

‘SELECTOR

ACHO

-120V

/

220-240

Sw

50/60Hz

abet

шй

ще:

USA

&

CANADIAN

MODELS

ACt20

60Hz

1

i

1

| |

[

|

i

1

1

i

t

|

1

J

SERVICE

The

MM30

are

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.

^

@

YAMAHA

NIPPON

GAKKI

CO.,

LTD.

HAMAMATSU,

JAPAN

OMD-58}

821150

A

Ф

Printed

in

Japan.