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
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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
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CH1 INPUT e
MIC/LINE (-60/0)
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©
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.
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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!

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MID FREQ
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€ 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.

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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
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EPER SERVING TO QUALIFIDE BERVICE PERO
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YAMAHA
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MADE IN TAIWAN
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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.
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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)