Yamaha MM30 User manual
YAMAHA
Ис
Ото.
PORTABLE
[aduz
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.
Other manuals for MM30
2
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