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  9. Yamaha MR Series User manual

Yamaha MR Series User manual

YAMAHA
Tables
de
mixage
|
Mischpult
RU)
L
U
Operation
Manual
Manuel
d'instructions
Bedienungsanleitung
Congratulations!
Your
MR-series
mixing
console
offers
the
quality
that
has
made
YAMAHA
a
leading
name
in
console
design,
plus
a
wealth
of
features
and
versatile
signal
routing
capability
that
makes
it
ideal
for
a
wide
range
of
applications.
The
MR842,
MR1242
and
MR1642
offer
8,
12
and
16
input
channels,
respectively.
The
input
channels
can
be
assigned
to
any
of
four
group
busses,
and
the
group
busses,
in
turn,
can
be
assigned
to
a
master
stereo
buss.
This
combination
of
group
and
stereo
busses
makes
the
MR-series
consoles
ideal
for
use
in
recording
and
sound
production
applications
as
well
as
small
sound
reinforcement
Jobs.
The
channel
inputs
are
all
electronically
balanced,
but
will
also
accept
unbalanced
signals
—
both
XLR
and
TRS
phone
|
jack
connectors
are
provided
for
each
input.
The
input
channels
feature
mic/line
or
tape
input
selection,
a
20
dB
input
pad
and
input
gain
control
that
permit
precise
level
matching
with
all
types
of
input
source.
Each
channel
also
offers
a
three-band
equalizer
with
shelving
low
and
high
bands,
and
a
sweepable
peaking
mid
frequency
band.
An
insert
patch
point
is
provided
immediately
prior
to
the
EQ
stage.
Three
auxiliary
send
controls
on
each
input
module
provide
a
range
of
submixes
for
effects,
monitoring
or
other
applications.
A
selector
assigns
AUX
3
send
to
the
pre-EQ
channel
signal
or
the
channel’s
tape
input.
Group
assign
switches
assign
the
channel
signal
to
groups
1
and
2
and/or
3
and
4,
with
panning
capability
between
groups.
The
four
group
modules
include
the
three
master
AUX
send
controls
and
dual
AUX
return
level
controls
with
assignment
switches
for
the
four
groups
and
the
master
stereo
buss.
Each
group
module
also
has
a
pan
control
that
pans
the
signal
from
that
group
across
the
stereo
buss.
The
L
and
R
channel
stereo
modules
include
the
monitor
assign
switches
and
talkback
facilities.
All
group
and
stereo
outputs
offer
both
electronically
balanced
+4
dB
outputs
and
standard
-10
dB
RCA
pin
jack
outputs
for
compatibility
with
the
broadest
possible
range
of
equipment.
In
order
to
make
the
most
of
your
MR-series
mixing
console
and
all
the
features
and
versatil-
ity
it
offers,
we
urge
you
to
read
this
operation
manual
thoroughly
—
and
keep
it
in
a
safe
place
for
later
reference.
CONTENTS
PRECAUTIONS
0.0...
eee
hehe
rue
hara
eer
rare
2
FRONT
PANEL
CONTROLS
......
0...
0
0c
c
cence
eet
n
eee
a
rera
haee
3
Input
Channels
....,.,,.........,...,,,,..,,,,.,,..,,,4,
TE
3
Master
Control
Section
0.0...
ccc
ce
ect
tee
ehh
haare
7
REAR
PANEL
CONNECTORS
AND
CONTROLS
..........
0...
ccc
cu
cece
cece
hh
hr]
naeh
9
SIGNAL
PATH
444444
ss
ss
here
ra
ha]
ah
ea
11
Main
Signal
Path
........
ccc
cc
cee
eee
cence
eevee
rh
haha
eaa
11
AUX
SEND
Signal
Path.......
eet
eee
ern
eet
eee
eennne
bees
11
AUX
RTN
Signal
Path
1.0...
0.
ccc
ccc
ccc
cece
m
tee
rennen
een
12
CUE
and
MONITOR
Signal
Path
......
0...
ccc
eee
e
eee
ete
rn
nennen
12
OPERATING
TIPS
,..................
PM
13
Connecting
Sources
..,,,,,,..4,,444444
4444
serres
sus
a
aes
HEP?
13
Connecting
Other
Equipment
..,..,..,,,,,,,,,,,,,4,,.4
44444
rar
ahh
hne
ha
13
Matching
Input
Levels
oo...
cc
cee
cece
teeter
Hh
hh
ra
ras
14
Equalization
.....
ccc
cece
eee
eee
ee
RR
RI
IR]
hrs]
14
SAMPLE
APPLICATIONS
,,...............4444
4,4
seems
ars
15
A
Recording
System
......,........,,,,,,,,,,,,,4,,4444
rema
aaa
ees
15
A
Sound
Reinforcement
System
...
12
cc.
cee
eee
ha]
mar
erras
16
SPECIFICATIONS
............,,,,,,.,,,,,,,444
44
hh
ah
aae
ehh
17
INPUT
and
OUTPUT
characteristics
ernennen
een
rea]
hh
hahere
hann
18
BIOCK
&
LEVEL
DIAGRAM
.......
0.0...
c
ccc
ccc
cence
ee
eee
eee
maa
aar
ae
ehe
58
PRECAUTIONS
1.
AVOID
EXCESSIVE
HEAT,
HUMIDITY,
DUST
AND
5.
HANDLE
CABLES
CAREFULLY
VIBRATION
Always
plug
and
unplug
cables
—
including
the
AC
cord
Keep
the
unit
away
from
locations
where
it
is
likely
to
be
—
by
gripping
the
connector,
not
the
cord.
exposed
to
high
temperatures
or
humidity
—
such
as
near
radiators,
stoves,
etc.
Also
avoid
locations
which
6.
CLEAN
WITH
A
SOFT
DRY
CLOTH
are
subject
to
excessive
dust
accumulation
or
vibration
.
.
Never
use
solvents
such
as
benzine
or
thinner
to
clean
which
could
cause
mechanical
damage.
the
unit.
Wipe
clean
with
a
soft,
dry
cloth.
2.
AVOID
PHYSICAL
SHOCKS
Strong
physical
shocks
to
the
unit
can
cause
damage.
Handle
it
with
care.
7.
ALWAYS
USE
THE
CORRECT
POWER
SUPPLY
Make
sure
that
the
power
supply
voltage
specified
on
the
rear
panel
matches
your
local
AC
mains
supply.
3.
DO
NOT
OPEN
THE
CASE
OR
ATTEMPT-REPAIRS
OR
MODIFICATIONS
YOURSELF
This
product
contains
no
user-serviceable
parts.
Refer
all
maintenance
to
qualified
YAMAHA
service
personnel.
Opening
the
case
and/or
tampering
with
the
internal
circuitry
will
void
the
warranty.
4.
MAKE
SURE
POWER
IS
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.
.
FRONT
PANEL
CONTROLS
Input
Channels
ex
ue
Lr
p
EEEEE
LI
I
.
S)
Ne:
go
A
D
EX
j
Hf-
T
m
l
o
(3
+
Sao
035
5
MID
FREQ
@
TAPE
Switch
The
TAPE
switch
provided
at
the
top
of
each
input
channel
module
determines
whether
the
input
signal
to
that
module
is
received
via
the
corresponding
rear-
panel
LO-Z
or
HI-Z
input
connector
or
the
TAPE
input
jack.
When
this
switch
isin
the
JL
(upper)
position,
the
channel’s
LO-Z
and
HI-Z
inputs
are
active,
and
when
itisinthe
„mm.
(lower)
position
the
TAPE
input
jack
is
selected.
Normally,
the
rear-panel
TAPE
inputs
will
be
connected
to
the
outputs
of
a
multitrack
tape
recorder.
The
TAPE
switches
therefore
allow
conven-
ient
routing
of
the
recorder
outputs
to
the
console's
input
channels
for
mixdown.
PAD
Switch
This
switch
attenuates
the
signal
applied
to
the
corre-
sponding
rear-panel
HI-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
input
circuitry
when
receiving
high-
level
signals.
The
pad
is
ON
when
the
PAD
switch
is
in
the
ma
(lower)
position.
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
line
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
sensitivity
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.
CH
INSERT
*48V
(PHANTOM)
L0-2
AS
|
°
CH1
INPUT
e
MIC/LINE
(-60/0)
nra
E
9
HI-Z
-
n
l
o
3-STAGE
Ed
Q——
CAIN
TAPE
o
©
TAPE
IN(-10)
©
©
3-band
Equalizer
These
controls
permit
individually
modifying
the
response
of
each
channel.
The
HIGH,
MID
and
LOW
EQ
controls
function
as
follows:
Control
|
HIGH.
|
+15
dB
10
kHz
i
^^|
#15dB
|0.35—5
kHz
i
Shelving
Peaking
The
MID
FREQ
control
sets
the
center
frequency
of
the
mid-band
{controlled
by
the
MID
control}
between
350
Hz
and
5
kHz.
Lom
"Mii
vus
LAN
LIEN
Hi
T
z
N
TN
E
IH
NT
a
[I
ai
S
ETUI
TEN
5
HN
Zi
|
Cn
Bu:
mall
1
mm
/
T
wali
N
ati
MN
milii
FREQUENCY
(Hz)
STEREO
L
STEREO
R
INPUT
CUE
CUE
CONTROL
MASTER
CUE
@
AUX
1&
2
Controls
The
AUX
1
and
AUX
2
controls
determine
the
level
of
the
signal
sent
from
that
channel
to
the
AUX
1
and
AUX
2
mixing
busses,
respectively.
The
AUX
1
and
-
AUX
2
mixing
busses
then
feed
the
AUX
SEND
1
and
AUX
SEND
2
level
controls
and
finally
the
rear-panel
AUX
SEND
1
and
AUX
SEND
2
output
jacks.
The
AUX
1
and
AUX
2
controls
can
be
used
to
produce
two
inde-
pendent
mixes
to
feed
external
effect
devices,
a
performer's
headphone
cue
system
or
other
system
fed
by
the
AUX
SEND
1
and
AUX
SEND
2
jacks.
In
their
factory
preset
configurations,
AUX
1
and
AUX
2
are
:
post-EQ/post-fader
so
the
AUX
1
and
AUX
2
signals
are
affected
by
the
channel
EQ
and
fader
settings.
_
NOTE:
Internal
jumpers
allow
AUX
1
and
AUX
2
to
be
rewired
to
different
points
in
the
channel
circuitry.
AUX
1
and
AUX
2,
for
example,
can
also
be
pre-EQ/
pre-fader.
AUX
1
and
AUX
2
can
also
be
set
up
for
post-EQ/pre-fader
operation.
REFER
THIS
JOB
TO
YOUR
YAMAHA
DEALER
OR
A
QUALIFIED
SERVICE
CENTER!
Ju
EH
EE
LE
E
LELEE
T
I
f
0.35
^9
6
MID
FREQ
o
HEELEELE
ELE
ELLE
LE
L
€
AUX
3
Control
&
TAPE
Switch
The
AUX
3
control
should
be
considered
separately
from
the
AUX
1
and
AUX
2
controls
since
it
works
in
conjunction
with
the
TAPE
switch
immediately
below
it,
In
normal
operation,
when
the
TAPE
switch
is
set
to
the
BEA,
(upper!
position,
the
AUX
3
control
functions
in
essentially
the
same
way
as
the
AUX
1
and
AUX
2
controls
—
it
determines
the
amount
of
pre-EQ/pre-
fader
signal
from
that
channel
to
be
sent
to
the
AUX
3
mixing
buss.
The
signal
from
the
AUX
3
mixing
buss
then
feeds
the
AUX
SEND
3
level
control
and
finally
the
AUX
SEND
3
output
jack
on
the
console's
rear
panel.
When
the
TAPE
switch
is
in
the
aem.
(lower)
position,
however,
AUX
3
control
feeds
the
signal
received
at
that
channel's
rear-panel
TAPE
IN
jack
to
the
AUX
3
mixing
buss.
The
AUX
3
controls
and
associated
TAPE
switches
therefore
make
it
possible
to
create
a
separate
tape
monitor
mix.
The
AUX
SEND
3
jack
can
be
used
to
feed
a
monitor
amp
and
speaker
system,
but
the
console's
built-in
monitor
facilities
also
allow
selection
of
the
AUX
3
mixing
buss
as
a
source
(see
"18.
MONI-
TOR
Control
&
Source
Select
Switches").
PRE
EQ
SIGNAL
TAPE
IN(-10)
©
D
©
Group
Assign
Switches
|.
©
PAN
Control
The
“1-2”
switches
assigns
the
channel
signal
to
group
mixing
busses
1
and
2,
and
the
“3-4”
switch
assigns
the
channel
signal
to
group
mixing
busses
3
and
4.
The
channel
signal
is
assigned
to
the
corresponding
busses
when
either
or
both
switches
are
in
the
i
(lower)
position.
When
either
or
both
of
the
group
assign
switches
are
ON,
the
PAN
control
pans
the
channel
signal
between
the
corresponding
group
busses
—
group
busses
1
and
2,
and/or
group
busses
3
and
4.
To
assign
the
channel
signal
to
the
group
1
buss
only,
for
example,
press
the
“1-2”
switch
and
turn
the
PAN
control
all
the
way
to
the
left
(^ODD"
position).
CUE
Switch
The
input-channel
CUE
switches
allow
independent
monitoring
of
a
selected
channel
or
channels
via
the
console’s
monitor
system
(the
MONITOR
section’s
CUE
selector
must
be
ON)
without
having
to
change
any
fader
settings.
This
ability
to
“isolate”
channels
makes
it
simple
to
check
sound
or
EQ
settings
with
no
interfer-
ence
from
other
channels.
Simply
press
the
CUE
switch
for
the
channel
or
channels
to
be
monitored.
The
cue
monitoring
level
is
adjusted
by
the
CUE
level
control
in
the
console’s
master
section.
_
Label
Space
Spaces
are
provided
above
each
of
the
console’s
faders
for
labelling.
A
channel
receiving
an
electric
piano
signal,
for
example,
could
be
labelled
“EP”
for
quick
and
easy
identification.
A-grease
pencil
can
be
used
to
write
directly
on
the
label
space
{the
grease-pencil
markings
can
be
easy
wiped
off
later),
or
a
length
of
light-tack
(not
too
sticky)
masking
or
white
artist's
tape
-
can
be
applied
across
the
label
spaces
and
written
on
with
any
convenient
writing
implement.
FERONT
PANEL
CONTROLS
®
Channel
Fader
This
is
the
main
level
control
for
each
input
channel.
It
determines
the
level
of
the
signal
sent
from
the
corre-
sponding
input
channel
to
the
group
busses
according
to
the
settings
of
the
corresponding
group
assign
switches
and
PAN
control.
The
settings
of
the
input
channel
faders
determines
the
“mix”
or
balance
of
sound
levels
between
the
instruments
or
other
sources
connected
to
the
inputs.
NOTE:
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
signals.
7
i
l
|
l
5
BO
Po
my
E
all
S
ig
x
CH
w
|
a
nj
©.
LTJ
z-
o
no
oo
Lo
ui
em
mmo
on
nme
nn
H
l
AUX
SENDS
_
EES
a
IE
1)?
c
{
!
|
|
J
5
Eu
]
LL
al
_
FO
IL
GROUP]
GROUPS
48
AUX
SEND
1,
2
&
3
Controls/CUE
Switches
These
adjust
the
overall
output
level
of
the
AUX
1,
AUX
2
and
AUX
3
"
mixes"
set
up
using
the
channel
AUX
1,
AUX
2
and
AUX
3
controls.
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
signal
appearing
at
the
AUX
SEND
3
jack.
These
controls
should
be
used
to
optimally
match
the
AUX
SEND
output
level
of
the
console
to
the
input
sensitiv-
ity
of
the
external
signal
processing
device
or
power
amplifier
used.
The
CUE
switches
associated
with
each
AUX
SEND
control
allow
independent
monitoring
of
the
AUX
SEND
signals
in
the
same
way
as
the
channel
CUE
switches
(
refer
to
“10.
CUE
Switch"
on
page
6
).
(D
AUX
RTN
1
&
2
Controls
&
Assignment
Switches
The
MR-series
consoles
feature
dual
stereo
AUX
returns
that
can
be
assigned
to
group
busses
1
and
2,
group
busses
3
and
4,
and/or
the
master
stereo
buss.
These
controls
adjust
the
level
of
the
signal
received
at
the
corresponding
rear-panel
AUX
RTN
jacks
and
applied
to
the
selected
mixing
buss(es).
The
AUX
RTN
assignment
switches
allow
the
AUX
RTN
1
and
AUX
RTN
2
signals
to
be
independently
assigned
to
group
busses
1
and
2
(1-2),
group
busses
3
and
4
(3-4),
and/or
the
master
stereo
buss
(ST).
(B
Group
PAN
Controls
The
group
PAN
controls
pan
the
signal
from
the
corre-
sponding
group
across
the
master
stereo
buss.
Group
CUE
Switches
The
group
CUE
switches
allow
independent
monitoring
of
a
selected
group
or
groups
via
the
console’s
monitor
system
(the
MONITOR
section’s
CUE
selector
must
be
ON)
without
having
to
change
any
fader
settings.
Simply
press
the
CUE
switch
for
the
group
or
groups
to
be
monitored.
The
cue
monitoring
level
is
adjusted
by
the
CUE
level
control
in
the
console’s
master
section.
GROUP
Faders
The
GROUP
faders
adjust
the
overall
level
of
the
group
mix
signal
fed
from
the
corresponding
group
buss
to
the
appropriate
GROUP
OUT
connectors
and
the
stereo
buss
(via
the
group
PAN
controls).
MONITOR
Control
&
Source
Select
Switches
The
MR-series
mixing
consoles
feature
a
built-in
monitor
system
which
provides
output
via
the
rear-
pane!
MONITOR
OUT
jacks
and
the
front-panel
PHONES
jack.
The
CUE,
AUX
3
and/or
stereo
buss
(ST)
signals
can
be
assigned
to
the
monitor
outputs
by
pressing
the
appropriate
monitor
source
select
switches.
Monitoring
level
i
is
adjusted
by
the
MONITOR
level
control.
CUE
Level
Control
&
CH
CUE
Indicator
The
CUE
level
control
adjusts
the
level
of
the
cue
signal
applied
to
the
console’s
monitor
system
when
any
of
the
channel,
AUX
SEND
or
group
CUE
switches
are
pressed
(the
MONITOR
section
CUE
source
select
switch
must
be
ON).
The
CH
CUE
indicator.LED
lights
when
any
of
the
console’s
CUE
switches
are
ON.
The
CH
CUE
indicator
is
important
to
remind
you
that
the
cue
system
is
active,
since
the
CUE
switches
are
push-
on/push-off
types.
PHONES
Jack
The
PHONES
jack
delivers
the
selected
monitor
signal
to
a
pair
of
standard
82
—
400
stereo
or
mono
monitor
headphones.
The
MONITOR
control
adjusts
the
head-
phone
monitoring
level.
FRONT
PANEL
CONTROLS
@
Talkback
Microphone
Connector
The
MR-series
console
talkback
system
allows
the
signal
from
a
microphone
connected
to
the
talkback
microphone
connector
to
be
sent
to
group
busses
1
and
2,
group
busses
3
and
4,
AUX
buss
1,
AUX
buss
2,
AUX
buss
3
and/or
the
stereo
buss,
This
allows
the
console
operator
or
“director”
to
communicate
with
performers
(via
a
performer's
cue
system
fed
by
an
AUX
send,
for
example)
or
to
send
voice
cues
to
a
tape
recorder
directly
from
the
console.
Any
standard
50Q
—
6000
microphone
can
be
connected
to
the
talkback
microphone
connector.
The
talkback
microphone
connector
is
an
XLR
type
wired
as
follows:
Pin
1:
GROUND
Pin
2
:
HOT
(+)
Pin
3
:
COLD
(-)
—
——
—
—
Ra
—
—
———
—
ee
—
———
TB
Level
Control
&
ON
Switch
The
TB
level
control
adjusts
the
level
of
the
talkback
signal
applied
to
the
buss(es)
selected
using
the
talkback
assignment
switches.
The
ON
switch
is
a
temporary
ON
type
(push-on/release-off)
—
the
talkback
signal
is
applied
to
the
selected
buss(es)
only
when
the
ON
switch
is
held
ON.
Talkback
Assignment
Switches
These
switches
determine
to
which
busstes)
the
talkback
signal
is
applied.
The
talkback
signal
can
be
assigned
to
group
busses
1
and
2
(1-2),
group
busses
3
and
4
(3-4),
AUX
buss
1
(AUX1),
AUX
buss
2
(AUX2),
AUX
buss
3
(AUX3)
and/or
the
stereo
buss
(ST).
ST
L
&
R
Faders
These
faders
independently
adjust
the
level
of
the
signal
sent
from
the
left
and
right
stereo
busses
to
the
ST
OUT
connectors
and
the
console’s
monitor
system
when
the
MONITOR
ST
source
select
switch
is
ON.
VU
Meters
and
Select
Switches
The
MR-series
consoles
feature
six
precision
illumi-
.
nated
VU
meters
with
built-in
PEAK
LEDs.
The
leftmost
four
meters
can
be
switched
to
show
signal
levels
on
group
busses
1,
2,
3
and
4,
or
AUX
busses
1
—
3
and
the
CUE
buss,
respectively.
The
rightmost
two
meters
show
levels
on
the
left
and
right
stereo
busses.
The
PEAK
LEDs
built
into
each
meter
light
when
the
corre-
sponding
signal
level
reaches
+14
dB.
REAR
PANEL
CONNECTORS
AND
CONTROLS
Rear
Panel
m
Gi
31
36
38
CAUTION
TO
FEOUCE
THE
RISK
CF
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TC
SHOCK
DONOT
dovER
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USER
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|
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CONSOLE
MODEL
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TAIWAN
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uan
a
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FUSE
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AFIN
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F
37
35
@
POWER
Switch
Flip
to
the
ON
position
to
turn
power
ON,
and
to
the
OFF
position
to
turn
power
OFF.
The
VU
meter
illumi-
nation
will
come
on
when
the
power
is
ON.
CAUTION:
Make
sure
the
GROUP
and
STEREO
faders
are
set
to
minimum
when
turning
the
POWER
switch
ON.
@
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
connector
and
a
balanced
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.
The
LO-Z
and
HEZ
inputs
accept
nominal
50Q
—
6000
microphones
or
6002
lines,
respectively,
Nominal
input
level
is
between
-60
dB
and
0
dB,
depending
on
the
settings
of
the
channel
GAIN
control
and
PAD
switch.
Refer
to
“Connecting
Sources”
on
page
13
for
more
informa-
tion.
@
TAPE
Input
Jack
This
-10
dB
RCA
pin
jack
input
is
ideally
suited
for
receiving
line-level
sources
such
as
the
output
from
a
tape
recorder
or
similar
equipment.
The
front-panel
TAPE
switch
determines
whether
input
for
that
channel
is
received
via
the
LO-
Z/HI-Z
connectors
or
the
TAPE
jack.
REMOVE
ATTENTION
^F
DE
Reue
LE
MISQUE
DE
CHOC
ELECTRIQUE
NE
Pas
ann
EVER
LE
COUVERCLE
IL NE
SE
TROUVF
L
UVANT
E
REPAREE
USAG
WARNING
TO
REDUCE
THE
RISK
OF
FIRE
GRELECTRIC
SHOCK
DO
NOT
ER
SADRESSER
A
EXPOSE
THIS
APPLIANCE
TO
MOIS
TURE
gee
mee un)
nur
00
me
m
me
a
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ue
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me
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ear
re
RO
m
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@
INSERT
-6dB
Jack
This
is
a
TRS
(Tip-Ring-Sleeve)
type
jack
that
provides
an
insert
patch
point
for
connection
of
external
signal
processing
or
other
equipment
between
the
channel's
head
amplifier
(the
first
amplifier
stage
after
the
input)
and
EO
stage.
The
insert
points
are
ideal
for
insertion
of
compressors,
noise
gates,
equalizers
or
other
equipment
that
needs
to
be
applied
to
specific
channels
only.
The
INSERT-6dB
jack
includes
both
the
send
(output)
and
receive
(input)
lines
required
by
the
insert
point,
sending
and
receiving
signals
at
a
nominal
-6dB.
TRS
PHONE
PLUG
Tip
(Insert
receive)
PE
to
IN
jack
to
OUT
jack
Ring
(Insert
send)
€»
AUX
SEND
+4dB
1,
2
&
3
Jacks
These
jacks
deliver
the
AUX
1,
AUX
2
and
AUX
3
mixes,
respectively,
to
feed
an
external
signal
proces-
sor,
performer's
headphone
cue
system,
a
monitor
system,
etc.
Nominal
output
level
of
the
AUX
send
jacks
is
+4
dB.
AUX
RTN
+4dB
1
(L
&
R)
&
2
(L
&
R)
Jacks
The
output
from
signal
processors
fed
by
the
AUX
SEND
1,
AUX
SEND
2
and/or
AUX
SEND
3
jacks
can
be
returned
to
the
group
and/or
stereo
busses
via
these
jacks.
Stereo
AUX
RTN
jacks
offer
compatibility
with
the
wide
range
of
mono-in/stereo-out
signal
processors
currently
available.
The
AUX
RTN
jacks
can
also
be
used
to
add
external
signals
other
than
the
output
from
signal
processor
to
the
group
and/or
stereo
busses.
Nominal
input
level/impedance
is
+4
dB/600Q.
GROUP
INSERT
1,
2,
3
&
4
Jacks
These
TRS
phone
jacks
function
in
the
same
was
as
the
channel
INSERT-6dB
jacks,
allowing
external
signal
processing
equipment
to
be
inserted
into
the
group-
circuit
signal
paths
immediately
prior
to
each
GROUP
fader.
Wiring
of
the
GROUP
INSERT
jacks
is
exactly
the
same
as
the
channel
INSERT-6dB
jacks.
STEREO
L
SUB
IN
&
STEREO
R
SUB
IN
Jacks
The
STEREO
SUB
IN
jacks
provide
direct
inputs
to
the
console's
left
and
right
stereo
busses.
The
STEREO
SUB
IN
jacks
can
be
used
alone
or
in
conjunction
with
the
GROUP
SUB
IN
jacks
to
"cascade"
two
MR-series
consoles
together
—
the
STEREO
OUT
connectors
of
one
console
are
connected
to
the
corresponding
STEREO
SUB
IN
jacks
of
the
second
console.
The
STEREO
SUB
IN
jacks
have
an
input
level
of
+4
dB
and
are
designed
for
used
with
6000
lines
(nominal).
GROUP
SUB
IN
+4dB
1,
2,
3
&
4
Jacks
The
GROUP
SUB
IN
jacks
provide
direct
inputs
to
the
console's
four
group
busses.
The
GROUP
SUB
IN
jacks
can,
for
example,
be
used
to
"cascade"
two
MR-series
consoles
together
—
the
GROUP
OUT
connectors
of
one
console
are
connected
to
the
corresponding
GROUP
SUB
IN
jacks
of
the
second
console.
This
increases
the
number
of
input
channels
available
(a
total
of
32
if
two
MR1642's
are
used)
while
allowing
all
input
channels
to
be
assigned
to
the
same
four
group
busses.
The
GROUP
SUB
IN
jacks
have
an
input
level
of
+4
dB
and
are
designed
for
used
with
600€
lines
(nomi-
nal).
|
€
GROUP
OUT
+4dB/-10dB
1,
2,
3
&
4
Connectors
These
are
the
main
outputs
from
the
console's
four.
group
busses.
The
XLR
type
connectors
provide
balanced
line
output
at
+4
dB
(nominal),
600
Q.
The
RCA
pin
jacks
deliver
unbalanced
output
at
—10
dB,
10
kQ
(nominal).
|
MONITOR
OUT
+4dB
L
&
R
Jacks
These
are
the
main
outputs
from
the
console's
monitor
:
system
(
see
“18.
MONITOR
Control
&
Source
Select
Switches"
on
page
8
).
These
are
mono
phone
jacks
delivering
the
left
and
right
channel
monitor
signals
at
+4
dB,
10
kQ
lines
(nominal).
ST
OUT
44dB/-10dB
L
&
R
Jacks
The
main
outputs
from
the
console's
stereo
buss.
The
XLR
type
connectors
deliver
the
stereo
buss
signal
at
+4
dB,
600
Q
(nominal).
The
RCA
pin
jacks
deliver
the
stereo
output
signal
at
-10
dB,
10
kQ
(nominal).
PHANTOM
MASTER
Switch
When
this
switch
is
turned
ON,
48V
is
applied
to
the
“4”
and
“-”
pins
of
the
LO-Z
and
HI-Z
input
connectors
via
6.8
kQ
current-limiting/isolation
resistors,
providing
phantom
power
for
phantom-powered
condenser
microphones.
10
SIGNAL
PATH
_
The
key
to
effectively
using
your
MR-series
mixing
console
is
to
familiarize
yourself
with
its
signal
path
and
the
way
the
various
controls
function
within
that
framework.
To
make
the
overall
system
easier
to
understand,
this
section
presents
a
number
of
greatly
simplified
block
diagrams
of
several
of
the
MR
console’s
most
important
signal
paths.
Main
Signal
Path
Asimplified
block
diagram
of
the
MR
console’s
main
signal
paths
is
given
to
the
right
(secondary
signal
paths
such
as
the
AUX
sends
and
returns,
monitor,
cue
and
talkback
circuits
are
omitted),
Basically,
the
signals
from
the
console's
8,
12
or
16
input
channels
are
initially
assigned
to
GROUP
BUSSES
1,
2,
3
and/or
4
via
the
channel
group
assign
switches
and
PAN
controls.
Output
from
the
group
busses
is
available
directly
via
the
console's
four
GROUP
OUT
jacks.
The
signals
on
the
group
busses
are
then
assigned
to
the
STEREO
BUSS
via
the
group
faders
and
.
PAN
controls.
The
stereo
buss
signals
are
available
via
the
ST
OUT
L
and
R
jacks.
The
advantage
of
this
configuration
`
is
that
groups
of
input
channel
signals
can
be
"grouped"
on
the
group
busses,
and
the
overall
level
of
the
group
controlled
by
a
single
fader.
You
could,
for
example,
assign
all
the
signals
from
the
drum
microphones
(or
a
multi-
output
rhythm
machine)
to
a
single
group,
adjusting
the
levels
of
the
individual
drums
using
the
appropriate
channel
faders.
Then,
the
overall
level
of
the
drum
"group"
fed
to
the
stereo
buss
can
be
controlled
by
operating
only
the
group
fader.
|
AUX
SEND
Signal
Path
'
The
simplified
block
diagram
right
shows
the
AUX
SEND
signal
path.
Note
that
the
AUX
1
and
AUX
2
signals
are
-
taken
from
a
point
following
the
input
channel's
main
circuitry
(including
the
equalizer
and
fader),
When
the
AUX
3
TAPE
switch
is
OFF,
the
AUX
3
signal
is
derived
from
a
point
before
the
main
channel
circuitry.
With
this
configuration,
AUX
1
and
AUX
2
are
most
suited
for
use
as
effect
sends
since
their
signals
are
affected
both
by
the
EQ
and
fader
settings.
The
AUX
3
signal,
however,
is
unaf-
fected
by
either
the
EQ
or
fader
settings,
and
thus
is
more
suited
for
use
as
a
monitor
send
such
as
a
performer's
headphone
cue
system.
AUX
3
can
also
be
used
as
a
con-
venient
tape
monitor
send.
11
INPUT
INPUT
CHANNEL
EJerouP
C2]
croup
34
ASSIGN
SWITCH
.
|
ASSIGN
SWITCH
CHANNEL
:
FADER
123
4
L
R
GROUP
BUSSES
STEREO
BUSS
000,
CHANNEL
CHANNEL
INPUT
INPUT
x
TO
GROUP
BUSS
CHANNEL
ASSIGN
SWITCHES
AUX
SEND
AUX
SEND
JACKS
1238
AUX
BUSSES
AUX
RTN
Signal
Path
The
AUX
RTN
signal
path
is
as
shown
in
the
simplified
=
block
diagram
right.
Both
AUX
RTN
1
and
AUX
RTN
2
ASSI
|
Caux
Rtn
feature
stereo
inputs.
The
AUX
RTN
control
adjusts
the
AUX
RTN
level
of
the
signal
received
via
the
corresponding
L
andR
`
=
\
AUX
RTN
v
—
LASSIGN
SWITCH
input
jacks.
Note
that
the
signal
received
at
the
L
input
is
assigned
to
group
buss
1
and
the
signal
received
at
the
R
input
is
assigned
to
group
buss
2
if
the
"1-2"
AUX
RTN
assignment
switch
is
ON.
The
same
applies
to
the
"3-4"
assignment
switch,
with
the
L
signal
going
to
group
buss
3
. ,
.
AUX
RTN
and
the
R
signal
going
to
group
buss
4.
The
“ST”
switch
10r2
1
2 3
4
L
R
Control
GROUP
BUSSES
STEREO
BUSS
assigns
the
AUX
RTN
L
and
R
signals
to
the
corresponding
stereo
busses.
CUE
and
MONITOR
Signal
Path
CUE
switches
select
input
The
CUE
and
MONITOR
signal
path
is
fairly
straightfor-
D
areup
and
AUX
ward,
as
shown
in
the
simplified
block
diagram
to
the
right.
Not
shown
is
the
CUE
control
circuit
which
gives
the
input
channel
CUE
switches
priority
over
the
master
section
(group
and
AUX
SEND)
CUE
switches.
The
cue
control
circuit
automatically
shuts
off
any
selected
master
section
CUE
signals
when
any
of
the
input
channel
CUE
switches
are
turned
ON.
The
fact
that
the
AUX
3
buss
is
avaiable
to
the
monitor
system
is
convenient
since
the
AUX
3
controls
can
be
used
to
set
up
a
tape
monitor
mix
(when
the
AUX
3
TAPE
switches
are
ON)
which
can
then
be
monitored
via
.
headphones
or
the
MONITOR
OUT
connectors.
|
switch
MONITOR
SELECT
SWITCH
(p
)
CUE
level
MONITOR
OUT
R
CUE
AUX
3
L
R
BUSS
BUSS
STEREO
BUSS
MONITOR
SELECT
SWITCH
MONITOR
SELECT
SWITCH
12
13
OPERATING
TIPS
`
Connecting
Sources
The
fact
that
the
MR-series
consoles
offer
both
LO-Z
XLR-
type
and
HI-Z
phone
jack
inputs
makes
it
simple
to
connect
virtually
any
type
of
source
equipment.
Professional
low-
impedance
microphones
and
other
equipment
almost
in-
variably
are
fitted
with
an
XLR
connector
which
matches
the
LO-Z
inputs
on
the
console.
Electronic
musical
instru-
ments
and
other
equipment
with
relatively
high-impedance
outputs
usually
have
a
phone-jack
output
connector
that
can
be
directly
connected
to
the
HI-Z
inputs
using
a
stan-
dard
phone
plug
—
phone
plug
cable.
The
HI-Z
inputs
are
TRS
(Tip-Ring-Sieeve)
types
that
will
also
accept
balanced
signals
if
an
appropriately
wired
TRS
phone
jack
is
used.
For
your
reference,
the
LO-Z
and
HI-Z
connectors
are
wired
as
follows:
Pin
1:
GROUND
Pin
2
:
HOT
(+)
Pin
3
:
COLD
(-)
+
MAKE
SURE
THE
CONSOLE'S
POWER
SWITCH
IS
OFF
OR
THE
GROUP
AND
STEREO
FADERS
ARE
SET
TO
MINIMUM
WHEN
CONNECTING
OR
DISCONNECTING
..
ANY
CABLES.
|
e
ALWAYS
TURN
THE
CONSOLE'S
POWER
ON
OR
RAISE
THE
GROUP
AND
STEREO
FADERS
AFTER
TURNING
ON
CONNECTED
SOURCES
SUCH
AS
ELECTRONIC
INSTRUMENTS,
ETC.
e
NEVER
CONNECT
THE
SPEAKER
OUTPUT
OF
ANY
AMPLIFIER
TO
THE
CONSOLE’S
INPUTS
UNLESS
A
SUITABLE
HIGH-LEVEL
ATTENUATION
PAD
OR
"DIRECT
BOX"
IS
USED
TO
LOWER
THE
SIGNAL'S
LEVEL.
Connecting
Other
Equipment
The
MR-series
consoles
provide
both
+4
dB
balanced
and
-
10
dB
unbalanced
connectors
on
the
group
and
stereo
outputs,
It
is
very
important
to
choose
the
connector
which
provides
the
signal
level
that
matches
the
input
characteris-
tics
of
the
other
equipment
used
(power
amplifiers,
tape
recorders,
etc.).
The
balanced
+4
dB
lines
are
intended
for
use
with
professional
type
equipment
that
has
balanced
+4
dB
inputs.
In
most
cases
the
MR
console
outputs
can
be
connected
to
such
equipment
via
standard
XLR-XLR
connecting
cables.
The
unbalanced
RCA
pin
jack
(-10
dB)
outputs
are
best
suited
for
use
with
semi-professional
or
home-use
audio
equipment
that
has
-10
dB
unbalanced
inputs.
For
long
cable
runs,
however,
the
balanced
outputs
are
recommended
since
balanced
lines
are
much
more
resistant
to
noise
pickup
and
will
provide
a
cleaner
signal.
:
The
AUX
SEND
outputs
and
AUX
RTN
inputs
are
unbal-
anced
+4
dB
phone
jacks.
The
reason
for
this
choice
is
that
most
signal
processing
and
related
equipment
with
which
^
the
AUX
SENDs
and
AUX
RETURNS
will
be
used
are
fitted
with
this
type
of
connector,
allowing
direct
hookup
using
standard
phone
plug
cables.
Refer
to
the
INPUT
and
OUTPUT
CHARACTERISTICS
charts
on
page
19
for
details
on
all
input
and
output
levels/imped-
ances.
Matching
Input
Levels
-
Once
all
your
sources
are
connected
and
the
entire
system
is
turned
on,
it
is
important
to
accurately
match
the
input
sensitivity
of
each
input
channel
with
the
source
signal
it
is
receiving.
Do
this
one
channel
at
a
time.
Begin
by
setting
the
lowest
possible
sensitivity
for
each
input:
turn
the
PAD
-
switch
ON
and
set
the
GAIN
control
to
-20
dB.
"Play"
the
source
connected
to
the
first
inpüt
channel
at
the
loudest
level
it
will
be
played
in
actual
use
—
if
a
microphone,
have
the
vocalist
sing
his
or
her
loudest
note
into
it.
Watch
the
channel
CLIP
indicator
carefully.
If
it
lights
at
this
point
(with
the
input
controls
set
for
minimum
sensitivity)
then
the
output
level
of
the
source
must
be
reduced.
Normally,
however,
you
will
have
to
increase
the
input
sensitivity
to
achieve
optimum
matching.
Gradually
increase
the
setting
of
the
GAIN
control
until
the
CLIP
indicator
just
barely
flashes
on
the
loudest
peaks.
If
you
turn
the
GAIN
control
all
the
way
up
and
the
CLIP
LED
still
doesn't
light,
then
reduce
the
GAIN
control
setting
to
minimum
(-20),
turn
the
PAD
switch
OFF,
then
gradually
increase
the
GAIN
control
setting
again.
This
time
you
should
get
a
CLIP
indication
somewhere
in
the
GAIN
control
range.
If
there
is
still
no
indication,
check
that
the
source
is
functioning
properly
and
that
itis
properly
connected
to
the
appropriate
input
of
the
mixer.
It
may
also
be
a
good
idea
to
check
the
cable
for
faults
(try
another
cable).
Remember,
the
CLIP
indicator
lights
when
the
channel
signal
is
3-dB
below
clipping
level,
so
it
is
quite
OK
if
it
flashes
briefly
on
loud
peaks.
This,
in
fact,
is
about
the
optimum
input
sensitivity
setting.
:
PAD
20dB
Equalization
The
HIGH,
MID
and
LOW
equalization
controls
on
each
channel
of
the
mixer
make
it
possible
to
independently
equalize
the
channel
signals
to
some
degree.
The
basic
rule
of
thumb
is
that
equalization
should
NOT
be
used
unless
it
is
absolutely
necessary.
Always
put
some
effort
into
proper
microphone
selection,
careful
microphone
placement
and/
or
setting
of
source
instrument
controls
to
achieve
the
desired
sound
before
resorting
to
equalization.
When
you've
set
everything
up
as
best
you
can,
but
still
need
to
modify
a
sound,
then
go
ahead
and
equalize.
Channel
EQ
can
be
most
useful
in
tonally
separating
one
sound
from
another
or
from
a
group.
A
bit
of
extra
HIGH
EQ
added
to
a
guitar
sound,
for
example,
can
give
it
a
bit
more
“bite”
and
help
it
to
stand
out
more
clearly
from
the
background.
Vocals
tend
to
stand
out
nicely
if
given
a
bit
of
boost
in
the
MID
range.
The
optimum
midrange
frequency
can
be
easily
located
by
initially
setting
a
fairly
high
degree
of
boost
of
cut
using
the
MID
control,
then
using
the
MID
FREO
control
to
sweep
across
the
frequency
range
until
the
desired
“sound”
is
achieved.
Then
adjust
the
MID
control
to
achieve
the
required
amount
of
boost
or
cut.
Speech
generally
benefits
from
a
reduction
in
the
low
frequencies
—
to
prevent
that
“boomy”
sound
that
occurs
when
the
speaker
gets
too
close
to
the
microphone.
Experimentation
‘and
experience
will
tell
you
how
much
EQ
is
right
for
different
types
of
sound.
Also
keep
in
mind
the
fact
that
the
CLIP
LED
indicator
is
post-EQ.
This
means
that
excessive
equalization
can
cause
the
CLIP
LED
to
light
indicating
that
you
either
need
to
reduce
the
input
gain
control
or
reduce
the
amount
of
equalization
being
applied.
LOW
14
SAMPLE
APPLICATIONS
A
Recording
System
In
the
sample
system
shown
here,
an
MR-series
console
is
used
in
a
small
multitrack
recording
system.
The
required
sources
are
connected
to
the
appropriate
LO-Z
and/or
HI-Z
channel
inputs.
A
microphone
for
vocals
is
connected
to
channel
1,
and
an
external
compressor
is
connected
to
the
channel-1
INSERT-6dB
connector
to
“smooth
out”
the
vocal
sound.
The
AUX
SEND
1
output
is.connected
to
a
digital
signal
processor
for
reverb
and
other
effects,
and
the
stereo
output
from
the
-
signal
processor
is
returned
to
the
AUX
RTN
1
connectors,
The
AUX
1
controls
can
thus
be
used
to
set
up
the
required
effect
mix.
The
AUX
SEND
3
output
is
connected
to
an
amplifier
driving
a
number
of
pairs
of
headphones
providing
cue
monitoring
for
the
performers.
The
GROUP
outputs
are
connected
to
the
inputs
of
a
4-channel
multitrack
recorder,
and
the
recorder
outputs
are
returned
to
the
TAPE
inputs
on
channels
1
through
4.
During
recording
the
AUX
3
TAPE
switches
for
channels
1
through
4
are
turned
ON
and
the
corresponding
AUX
3
controls
are
used
to
set
up
a
tape
monitor
mix
which
is
monitored
via
the
console
operator's
headphones
or
the
control
room
monitor
system.
For
final
mixdown,
the
input
channel
TAPE
switches
on
channels
1
through
4
will
be
turned
ON,
routing
the
tape
returns
to
the
main
input
channel
circuitry.
The
MONITOR
OUT
jacks
are
connected
to
the
control-room
monitor
amplifier
and
speaker
system,
while
the
STEREO
OUT
connector
feed
a
separate
power
amplifier
and
speaker
system
for
studio
monitoring.
A
microphone
con-
nected
to
the
console's
talkback
microphone
connector
allows
the
console
operator
to
communicate
with
the
performers
via
the
headphone
cue
or
studio
monitor
system.
CONTROL
ROOM
MONITOR
SPEAKERS
PERFORMERS'
HEADPHONES
HEADPHONE
CUE
AMP.
DIGITAL
SIGNAL
PROCESSOR
COMPRESSOR
CONSOLE
|
OPERATOR'S
|
HEADPHONE
PHANTOM
MASER
ON
OFF
Aux
SEND-
Mauss
AUX
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2+
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OPERATOR'S
MICROPHONE
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Moe
MICROPHONE
RECORDER
for
Vocals
POWER
AMPLIFIER
/
SPEAKER
SYSTEM
.
for
studio
monitoring
_
A
Sound
Reinforcement
System
In
this
small
sound
reinforcement
system
the
required
sources
are
connected
to
the
appropriate
input
channel
LO-Z
or
HI-Z
connectors.
As
in
the
recording
system
described
above,
the
AUX
SEND
1
output
is
connected
to
a
digital
signal
processor
for
reverb
and
other
effects,
and
the
stereo
output
from
the
signal
processor
is
returned
to
the
AUX
RTN
1
connectors.
The
AUX
1
controls
can
thus
be
used
to
set
up
the
required
effect
mix.
The
AUX
2
and
AUX
3
controls
are
used
to
provide
two
different
monitor
mixes
for
groups
of
performers
on
stage
—
one
for
the
instrumentalists
and
one
for
the
vocalists,
for
example.
The
AUX
SEND
2
and
AUX
SEND
3
outputs
are
therefore
connected
to
power
amplifiers
driving
the
on-stage
monitor
speaker
systems.
The
main
house
power
amplifier/speaker
system
can
be
fed
by
the
STEREO
outputs
or,
if
a
higher-power
4-amp
system
is
required,
by
the
GROUP
outputs.
A
microphone
connected
to
the
console’s
talkback
micro-
phone
connector
allows
the
console
operator
to
communicate
with
the
performers
on
stage
via
the
monitor
systems
during
`
rehearsal
and
setup.
In
this
system
a
tape
player
is
connected
to
the
AUX
RTN
2
inputs
to
provide
background
music
during
-
intermission
or
recorded
accompaniment
for
the
performance.
MICROPHONES
and
ELECTRONIC
INSTRUMENTS
SATGE
MONITOR
SPEAKERS
TAPE
PLAYER
DIGITAL
SIGNAL
PROCESSOR
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CONSOLE
OPERATOR'S
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2-Speakers
4-Speakers
MAIN
HOUSE
POWER
AMPLIFIER
/
SPEAKER
SYSTEM
16
SPECIFICATIONS
Total
Harmonic
Distortion
Less
than
0.1%,
20
Hz
—
20
kHz,
@+14
dB
output
into
600
ohms.
Frequency
Response
+1,-3
dB,
20
Hz
—
20
kHz,
@+4
dB
output
into
600
ohms.
Hum
&
Noise
(20
Hz
—
20
kHz,
Rs=150
Q,
input
pad
@
0
dB,
input
sensitivity
@
-60
dB)
-128
dB
equivalent
input
noise,
-
-90
dB
residual
output
noise,
-73
dB
(77
dB
S/N)
at
GROUP
OUT,
Master
fader
nominal,
all
channel
faders
minimum.
—64
dB
(68
dB
S/N)
at
GROUP
OUT,
Master
and
one
channel
fader
nominal.
-70
dB
(74
dB
S/N)
at
AUX
SEND,
Master
fader
nominal,
all
channel
AUX
controls
minimum.
—64
dB
(68
dB
S/N)
at
AUX
SEND,
Master
fader
|
and
one
AUX
send
control
nominal.
Maximum
Voltage
Gain
84
dB
CH
IN
to
GROUP
OUT
94
dB
CH
IN
to
STEREO
OUT
-
94
dB
CH
IN
to
AUX
SEND
1
84
dB
CH
IN
to
AUX
SEND
2—3
20
dB
AUX
RETURN
1—2
to
GROUP
OUT
&
STEREO
OUT
10
dB
SUB
IN
to
GROUP
OUT,
AUX
SEND
1—3
.
Crosstalk
17
—60
dB
at
1
kHz,
adjacent
channel
inputs.
|
-60
dB
at
1
kHz,
input
to
output.
Input
Channel
Gain
Control
40
dB
range
(-60
—
-20
dB),
stop
to
stop.
Input
Channel
Pad
Switch
0/20
dB
attenuation.
|
Input
Channel
Equalization
(15
dB
maximum
boost
or
cut)
HIGH:
10
kHz
(shelving).
MIDDLE:
350
Hz
—
5
kHz
(peaking).
|
LOW:
100
Hz
(shelving).
|
VU
Meters
(All
meters
calibrated
for
0
VU
=
+4
dB
output)
6
illuminated
meters:
GROUP
1/AUX
1,
GROUP
2/AUX
2,
GROUP
3/AUX
3,
GROUP
4/CUE,
STEREO
L/R
*
Clip
Indicators
LEDs
for
each
input
module:
CLIP
(red)
lights
when
post-EQ
signal
is
3dB
below
clipping.
Peak
Indicators
LED
built
into
each
VU
meter.
It
turns
on
when
output
signal
reaches
+14dB.
Phantom
Power
+48
V
DC
applied
to
electronically
balanced
inputs
or
optional
transformer-isolated
inputs
(via
6.8
kQ
current
limiting/isolation
resistors).
Power
Requirements
Power
requirements
match
local
AC
mains
voltage
and
frequency
in
area
where
sold.
Power
Consumption
MR842
:70W
MR1242:70W
MR1642:70
W
Console
Dimensions
(W
x
H
x
D)
MR842
:
555
x
182
x
600
mm
(21-7/8"
x
7-3/16"
x
23-5/8")
695
x
182
x
600
mm
(27-3/8"
x
7-3/16"
x
23-5/8")
835
x
182
x
600
mm
(32-7/8"
x
7-3/16"
x
23-5/8")
MR1242:
MR1642:
Net
Weight
MR842
:
15
Kg
(33
Ibs
1
oz)
MR1242
:
18
Kg
(39
Ibs
11
oz)
MR1842
:
21
Kg
(46
Ibs
5
oz)
*
OdB
=
0.775
Vrms.
Specifications
and
appearance
subject
to
change
without
notice.
INPUT
CHARACTERISTICS
=
INPUT
CHARACTERISTICS
E
ZEN
D
neur
o)
source.
|
77
IL
INPUT
LEVELS
|
CONNECTOR
S
DINEM
|PAD
|
GAIN
IMPEDANCE
|
IMPEDANCE
|
SENSITIVITY’
|
AO
[NON
CLIPING
|
TYPE
=
CH
INPUT
Lo.z
ore
[9008
02-340
50-600
o
|-80dB
(0.08mV)|
-60dB
(0.8mV)
|-34dB
(15.5mV)
XLR
type
|
ME
|
Microphones
|.
40dB
(7.75mV)
-20dB
(77.5mV)|
+6dB
(1.55mV)
MR842
:1-8
HI-Z
ON
-20dB
HI-Z
=
10kQ
600
©
Li
Phone
Jack
(TRS)
MR1242
:1~12
(20dB)
ines
|_90dB
(77.5mV)|
OdB
(775mV)
|
+20dB
(7.75V)
(Balanced)
MR1642
:1~16
TAPE
IN
10kQ
|
600QLines
.30dB
(245mV)|-10dB
(245mV)|
«20dB
775v)
|
RCA
Fin
Jack
|.
AUX
RETURN
(1,2)
stereo
10ko
|
600
QLines
|-16dB
(123mv)|
«4dB
(12V
|
—
[Phone
Jack
(TRS)
4
Phone
Jack
(TRS)
MAEM?
1-8,
.
|-a6dB(38.8mV)|
+4dB
(1.23V)
|
«20dB
(7.75V)
10
ko
600
Q
Lines
Phone
Jack
(TRS)
-46dB
(123mV)
|
-6dB
(388mV)
|
«20dB
(7.75V)
INSERT
IN
CM
are
:1-16
GROUP
(1-4)
Phone
Jack
(Unbalanced)
GROUP
(1-4)
_
B
(48.9m
XLR-3-31
type
24dB
(48.9mV)
(Balancedl
SUB
IN
10
kQ
600
Q
Lines
|
-6dB
(388mV)
|
+4dB
(1.23V)
|
+20dB
(7.75V)
STEREO
(L,R)
TALKBACK
IN
10-600
N
|-70dB
(2.45mV)
|-50dB
(2.45mV)
=
OUTPUT
CHARACTERISTICS
|
T
LOARD.
[OUTPUT
LEVELS
7
nce
|,
RATED
|
|
XLR-3-32
type
(Balanced)
GROUP
OUT
{1~4)
STEREO
OUT
(L,
R)
Phone
Jack
AUX
SEND
(1-3)
.
(Unbalanced)
MR1242
11712
Phone
Jack
(TRS)
1-
ne
Jac
INSERT
OUT
CH
|
eee
1-16
(Unbalanced)
GROUP
(1-4)
PHONES
OUT
STEREO
Phone
Jack
(Unbalanced)
*Input
level
required
to
produce
rated
+4dB
output
level.
OdB
=
0.775
Vrms.
18°
19
IMPORTANT
NOTICE
FOR
THE
UNITED
KINGDOM
Connecting
the
Plug
and
Cord
|
IMPORTANT
.
The
wires
in
this
mains
lead
are
coloured
in
accordance
with
the
following
code:
BLUE
:
NEUTRAL
BROWN
_
:
LIVE
As
the
colours
of
the
wires
in
the
mains
lead
of
this
apparatus
may
not
correspond
with
the
coloured
markings
identifying
the
terminals
in
your
plug
proceed
as
follows:
The
wire
which
is
coloured
BLUE
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
N
or
coloured
BLACK.
u
The
wire
which
is
coloured
BROWN
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
L
or
coloured
RED.
|
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.

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