Yamaha M2500 User Manual

MIXING

CONSOLES

-24/-32/-40C/-48C/-56C

When discerning sound-reinforcement professionals think “console”
they also think “Yamaha.” And with good reason. Yamaha sound­reinforcement consoles have, for many years, been standards by
which others are judged. Yamaha’s new M2500 consoles up the ante
once more, defining new levels of performance, control, versatility,
and reliability for an industry that never stands still. Innovate fea­tures such as the group/aux flip function and LCR panning offer
unprecedented control, while no-compromise circuit design, layout,
and component selection from the critical head amplifiers right
through to the output connectors ensure that you get the cleanest,
most accurate signal possible. The most important and in-demand
features have all been implemented as well: 4-band EQ with two
sweepable mid-bands on all mono inputs, a matrix submix of the
group, auxiliary, stereo and mono/center busses as well as the sub
inputs, 128-scene memory, 100-millimeter faders, and more.

■ A wide range of input configurations for all applications: 24, 32, 40, 48, or 56 mono inputs

with 4 stereo inputs.

■ A total of 25 output busses: 8 group, 14 auxiliary, 1 stereo, and 1 mono/center buss.

■ Full-length 100-mm faders for all group masters and aux sends 1 through 6 — the group master

faders/controls and aux send 7 through 14 controls can be flipped for maximum system versatility.

■ Group/auxiliary flip function allows the master section to be instantly optimized for main or

monitor mixing.

■ Mono channel pan controls switchable for LR or LCR operation.

■ All mono inputs feature switchable phantom power, 26-dB pad switches, 44-dB gain trim,

high-pass filter switches, and versatile 4-band EQ.

■ 128 mute scenes recallable via numeric keys, 8 direct recall switches, or MIDI control for mute

automation.

■ The 8 direct recall switches can alternatively be used as mute group switches.

■ 13 x 8 submix matrix mixes the group/aux, stereo, and mono busses, as well as the L and R sub

input signals, to 8 discrete outputs.

■ Odd/even group assign as well as stereo and mono buss assign switches on all input channels.

■ Aux sends 3 through 14 switchable for pre- or post-fader operation.

■ All outputs are balanced: stereo, mono/center, group, aux, monitor, and matrix out.

■ Insert patch points on all mono channels as well as the stereo, mono/center, group, and aux busses.

■ 11 large illuminated VU meters for precise visual level monitoring.

■ 3-point input level indicators on all input channels.

■ High-capacity, high-performance external power supply with full power monitoring (two can be

connected for automatic switchover in case of failure).

Photo: M2500-56C

Group/Aux Flip Function

This innovative feature makes it possible to flip the functions of
the group master 1 through 8 controls (including pan pots, assign
switches, and insert I/O jacks) with aux send controls 7 through 14
via a single switch. When the GROUP/AUX FLIP switch is set to
GROUP, the 100-mm group master faders and related controls
function in the normal way, affecting the signal fed to the console’s
group outputs — the ideal configuration for most house mixing
applications. When the GROUP/AUX FLIP switch is set to AUX,
however, the group master
faders are flipped with rotary aux
sends 7 through 14, so that all of
the console’s master aux sends
are controlled via full-length
faders for unmatched monitor
mixing convenience.

Switchable LR and LCR Panning

All of the mono inputs and group master controls feature LCR
switches which, when engaged, assign the related panpot to the left,
right, and center busses for LCR panning rather than just to the left
and right busses as for standard LR stereo panning. When an LCR
switches is not engaged, the corresponding PAN control functions in
the normal way, panning the signal from left to right on the stereo
buss. When a channel’s LCR switch is engaged, however, the center
panpot position directly feeds the channel signal to the MONO/C
buss, which can feed a center amp/speaker system as required,
while intermediate pan positions feed both the L or R and C buss
proportionately. The advantage is that centered signals are heard
precisely in the center of the sound field, regardless of listening
position — an ideal situation for vocals, speech, etc.
(,while intermediate
pan positions feed both
the L or R and C buss
proportionately.)
Intermediate pan pot
positions pan between
L&C when left of center
and C&R when posi­tioned right of center.

●

L R PAN

●

Signal Level

L

C

MONO/C BUSS@@@ STEREO BUSS L@@@ STEREO BUSS R

R

LCR PAN

Signal Level

L

C

R

INPUT CHANNELS

INPUT CHANNELS

MONO INPUTS

STEREO INPUTS

■ Inputs

The mono input channels feature balanced
XLR-type microphone/line inputs. +48V
Phantom power is independently switchable
for all mono inputs, providing direct compat­ibility with high-performance phantom­powered condenser microphones and DI
boxes.

Stereo line sources can be directly con­nected to any of the 4 stereo input channels
(a total of eight inputs). Stereo channel 1 has
switchable “A” or “B” inputs: the “A” inputs are
balanced XLR type connectors, and the “B”
inputs are standard RCA pin jacks type for
compatibility with the widest possible range of
line sources. Stereo channels 2 through 4
have balanced TRS inputs.

■ Channel Insertion

Insert send/return patch points are
included on all mono channels for convenient
insertion of compressor/limiters (a must for
top-quality vocal sound), equalizers, or any
other outboard equipment you might need to
apply to individual channels.

■ Input Controls & Level Matching

Gain trim controls with a 44-dB range on
all mono inputs, independent 40-dB gain
controls for the A input on stereo channel 1
and stereo channels 2 through 4, and 30-dB
gain controls for the B input on stereo channel
1, facilitate optimum level matching with a
wide range of sources. The mono inputs
additionally feature 26-dB pad switches and
phase switches for easy input phase correc­tion.

■ Filters & Flexible 4-band Channel

EQ

All mono channels feature a switchable
high-pass filters to effectively eliminate rumble
and other low-frequency noise. The mono
channels also feature a very flexible 4-band
equalizer which provides sweepable frequen­cies for the HI MID and LO MID bands. The
stereo channels offer 2-band shelving EQ. EQ
bypass switches are provided on all channels
so equalization can be punched in or out as
required without having to change settings.

■ 14 Aux Sends

The AUX 1 through AUX14 controls are
mono auxiliary sends, feeding the correspond­ing auxiliary busses. The AUX 7 through AUX
14 signals can be re-routed to the group
master controls, as described in the “MASTER
CONTROLS” section, below. AUX 1 and AUX 2
are hard-wired pre-fader, while the remaining
12 sends can be switched to receive the pre­or post-fader signal in groups of four.

■ Buss Assign & Pan/Balance

Controls

All mono and stereo channels have odd/
even assign switches for the 8 group busses,
as well as stereo and mono buss assign
switches. The mono channels have PAN
controls switchable for LR or LCR operation,
and the stereo channels have balance
controls.

■ 3-point Level Indicators

All mono and stereo channels feature 3­point input level indicators for accurate
monitoring of pre-fader signal levels. SIGNAL,
NOM (nominal), and PEAK LEDs provide a
broader “view” of channel signal levels than
the usual one- or two-LED indicators.

■ Channel Faders, Pre-fader Listen,

& Channel ON Switches

Smooth, noise-free 100-mm linear faders
make it easy to set up the optimum balance
between channels, while PFL (Pre-Fader
Listen) switches allow convenient solo
monitoring of the channel’s pre-fader signal.
All channels additionally feature ON/EDIT
switches and indicators that can be used to
switch the channel signal into or out of the
mix — allowing editing of mute scenes, for
example — without changing any other
settings.

MASTER CONTROLS

MASTER CONTROLS

■ Master Auxiliary Sends

Master auxiliary sends 1 through 6 feature
full-length 100-millimeter faders with ON and
AFL switches, and theses directly feed the
corresponding AUX outputs. Master auxiliary
sends 7 through 14 are normally rotary
controls with ON and AFL switches, feeding the
corresponding AUX outputs, but these can be
flipped with the 100-millimeter faders and
related controls normally assigned to the 8
group busses.

■ Group Master Controls

All 8 group master faders are full-length
100-mm types with ON/EDIT switches and
indicators, AFL switches, PAN controls, MATRIX
assign, STEREO assign, MONO assign, and LCR
panning mode switches. These group controls,
in conjunction with the flippable aux master
controls, lets you configure the console to
meet your group/auxiliary requirements while
retaining full use of all 25 output busses.

■ Group/Aux Flip Switch

Flips the functions of the master group
controls (1 through 8) with aux send masters
7 through 14. This makes it possible to to
instantaneously optimize the master control
section for main or monitor mixing applica­tions.

■ All Balance Outputs with Insert

Patching

All outputs from the M2500 console —
stereo, mono/center, group, aux, monitor, and
matrix out — are electronically balanced for full
compatibility with professional equipment and
optimum performance with long signal runs.
The group/aux, aux, stereo, and mono outputs
also feature insert patch points for external
signal processing.

■ Sub Inputs

Sub inputs to the stereo L and R busses, the
mono/center buss, and the submix matrix
allow external line-level signals to be added to
the mix as required.

■ 128 MIDI Scene Memory & 8 Mute

Groups

In the M2500 console the channel, group/
aux, stereo, and mono/center buss mute
functions are electronically controlled by a
microcomputer and MIDI interface. Up to 128
mute “scenes” can be stored in memory and
recalled either via the panel controls or an
external MIDI device. Eight DIRECT RECALL
switches can be used for instant recall of the
most often-used scenes, while others can be
recalled via the numeric keys. The memory
contents can be checked and edited at any
time without actually affecting the mix.

In addition to recalling complete scenes,
external MIDI control can be used to individu­ally turn the applicable channels and busses
off or on as required. A MIDI sequencer or
computer, for example, could be used for
complete mute automation. And since the
M2500 also transmits MIDI program change
messages whenever a scene is recalled, it can
be linked to MIDI-controllable signal proces­sors so that appropriate effects are recalled
automatically. Furthermore, scene data can be
dumped to a MIDI data recorder or other
storage device for long-term storage.

■ Submix Matrix

The matrix mix concept was a Yamaha
innovation which has virtually become an
industry standard in professional audio
consoles. The M2500 features a 13 x 8 matrix
mix which allows the 8 group/aux buss signals,

the stereo signals, the mono buss signal, and
the L and R sub input signals to be mixed to
eight balanced outputs for extra stage monitor
mixes, zoned speaker mixes, or just about any
type of mix the job requires. All eight matrix
mixes include mix on/off switches and AFL
switches.

■ Flexible Monitoring & Metering

In addition to balanced stereo monitor
outputs, the M2500 consoles feature a
balanced mono/center monitor output for an
extra margin of monitoring versatility. There’s
also a separate headphone output with its own
level control. A L+R switch sums the left- and
right-channel signals when you want to
monitor in mono via the stereo monitor
outputs.

A total of 11 large illuminated VU meters
with built-in peak-reading LEDs provide
accurate visual level monitoring. Eight of the
meters can be switched to display levels on
the group busses, aux busses, or the matrix
outputs. The remaining three meters show
levels on the stereo and mono/center busses.

■ Oscillator/Talkback Module

For talkback the M2500 features a panel­mounted microphone jack with level control
and on/off switch. For convenient system
calibration and testing there’s even a built in
oscillator with 100Hzm 1kHz, 10kHz and pink
noise output.

■ Lamp Connectors

Connectors for up to three Yamaha LA1800
(option) console lamps are provided on the
rear panel.

PW3000MA Power Supply

A newly developed, high-performance PW3000MA power supply unit is available as an
optional accessory for the M2500 mixing console. Two PW3000MA units can be parallel
connected so that if one fails the other will automatically take over — with no need for
any extra automatic switchover equipment.

PW3000MA Specifications

Power consumption

U.S. and Canadian model: 120V AC,60Hz / 500W 600 VA
European model: 230V AC, 50Hz/ 500W
Australian model: 240V AC, 50Hz/ 500W

Dimensions (H × D × W)

103.5 × 455 × 480 mm (4-1/16” × 17-5/16” × 18-7/8”)

Weight 15kg (33.1 Ibs)
Accessory Connecting cable (1m) × 1

Rear Panel

M2500-24Front Panel

M2500-24 Rear Panel

M2500-40C Front Panel

M2500-40C Rear Panel

BLOCK DIAGRAM

Abbrev.

*

: MONITOR bus abbreviations

to MONITOR

to MONITOR

to MONITOR

G7/A1

G1/A7

Same as

CPU

ST L, ST R

AUX, ST MONO

GRP/AUX, AUX/GRP

GRP/AUX, AUX/GRP

AUX, ST MONO

AUX, ST MONO

GRP/AUX, AUX/GRP

MONO IN, ST IN

ST IN R

ST IN L

MONO IN

to MMPM

*

MMAM

*

MMPR *MMAR

*

MMAO

*

to MMPL

*

MMAO

*

MMAL

*

MMAO

*

to MMPM

*

MMAM

*

MMAO

*

to MMPM

*

MMAM

*

MMAO

*

to MMPM

*

MMAM

*

MONITOR bus

MIO

*

Phones

–60dB

–50dB

–40dB

–30dB

–20dB

–10dB

0dB

+10dB

+20dB

MONITOR OUT

ST OUT

MATRIX OUT

SUB IN MATRIX

AUX OUT

AUX/GRP OUT

GRP/AUX OUT

SUB IN ST

MONO

MIC

OUT

MONITOR

INSERT I/O

Pad:On, Gain:Max

Pad:Off, Gain:Min

Pad:On, Gain:Min

Pad:Off, Gain:Max

Gain:Max

Gain:Max

Gain:Min

Clipping Level

ST CH 1A, 2-4

ST CH 1B

ST CH

–60dB

–50dB

–40dB

–30dB

–20dB

–10dB

0dB

+10dB

+20dB

+30dB

MONITOR MASTER AFL ONMMAO

MONITOR MASTER AFL ST RMMAR

MONITOR MASTER AFL ST LMMAL

MONITOR MASTER AFL MONOMMAM

MONITOR MASTER PFL ST RMMPR

MONITOR MASTER PFL ST LMMPL

MONITOR MASTER PFL MONOMMPM

MONITOR INPUT ON

MONITOR INPUT ST R

MONITOR INPUT ST L

MIO

MIR

MIL

MONITOR INPUT MONOMIM

MONO

ST R

ST L

MIR

*

MIL

*

MIM

*

MIO

*

MONITOR

ST

LR

MONO

MONO

RL

ST

PFL AFL

ON

ON

(PFL)

G7/A13

G6/A12

G5/A11

G4/A10

G3/A9

G2/A8

G1/A7

AUX 5

AUX 4

AUX 3

AUX 2

AUX 1

A13/G7

A12/G6

A11/G5

A10/G4

A9/G3

A8/G2

A7/G1

MATRIX 7

MATRIX 6

MATRIX 5

MATRIX 4

MATRIX 3

MATRIX 2

MATRIX 1

AUX 6

G8/A14

MATRIX 8

A14/G8

Same as ST CH 1

ST CH 2-4

MASTERINPUT

R

MONO

L

to

G7/A13

G8/A14

G2/A8

G1/A7

from

to MATRIX

to METER

to METER

to METER

from

ST R

ST R

ST L

ST L

SUB IN R

ST R

MONO/C

ST L

from CPU

from CPU

from CPU

from CPU

from CPU

Control

Mute

to Control

to TB

OSC

MIDI

OUT

IN

THRU

RECALL

DIRECT

SELECT

METER

OSCILATOR

u

q

ENTER

0

9

2

1

8

7

2

1

G1-8/A7-14

AUX1-6

A7-14/G1-8

MATRIX

CHECK

STORE

RECALL

UTILITY

ON

100Hz

1kHz

10kHz

PINK

to METER

INPUT

GROUP/AUX FLIP

AUX

GROUP

from

AUX 8-14

GROUP 2-8

MIC

TB/OSC

MATRIX

AUX 11-14

AUX 11-14

Same as AUX 3-6

AUX 7-10

Same as AUX 3-6

Same as AUX 3-6

AUX 7-10

Same as AUX 3-6

B

A

and

and

AUX/GRP A8/G2-A14/G8

GRP/AUX G2/A8-G8/A14

G1/A7

A7/G1

G1/A7

from AUX 2-6

Same as AUX 1

AUX 2-6

AUX 1

1

1-8

MONO/C

RLST OUT

ST OUT

MATRIX OUT

+4dB

+4dB

+4dB

+4dB

MONO/C

ST R

ST L

0dB

INSERT I/O

INSERT I/O

0dB

0dB

INSERT I/O

INSERT I/O

0dB

0dB

INSERT I/O

AUX OUT

AUX/GRP OUT

+4dB

GRP/AUX OUT

+4dB

+4dB

MASTER

PHANTOM

ST CH 2-4

INPUT

L/MONO

R

ST CH 1

INPUT B

INPUT A

R

L

R

L

MATRIX

SUB IN

+4dB

R

L

ST R

ST L

MONO/C

+4dB

SUB IN

+4dB

MONO/C

1-56

1-48

1-40

1-32

1-24

INPUT

0dB

INSERT I/O

ON

PFL

MASTER

L+R LEVEL

ST

MASTER

LR

MONO

ON

AFL

LEVEL

MONO/C

SUB IN L

ST R

ST L

G8/A14

G7/A13

G2/A8

G1/A7

SUB IN

RLLR
MONO/C

STEREO

MATRIX

MATRIX

LR

MONO/C

STEREO

MATRIX

G8/A14
G7/A13
G6/A12
G5/A11
G4/A10
G3/A9
G2/A8
G1/A7

ON

CHECK

ON/EDIT

Control

AFL

ON

AFL

ON

Control

ON/EDIT

CHECK

ON

LEVEL

ON

AFL

AFL

PAN

LCR

ST

MONO

PFL

ON

BAL

ON

CHECK

(–26dB)

(0dB)

ON

CHECK

2 stage EQ

2 stage EQ

2 stage EQ

2 stage EQ

GAIN B GAIN A

AUXGROUP

14

13

12

11

10

9

2

3

4

5

6

7

88

7

6

5

4

3

2

11

GROUP

8

7

6

5

4

3

2

1

EQ

HI

LO

GAIN

SIGNAL

PFL

LO

HI

EQ

AUX1

PRE

AUX2

AUX3

AUX4

AUX5

AUX6

ST

MONO

PEAK

NOM

Control

ON/EDIT

ON/EDIT

Control

SIGNAL

NOM

PEAK

MONO

ST

LCR

AUX6

AUX5

AUX4

AUX3

AUX2

PAN

PRE

AUX1

EQ

LO

HI

Ø

80

+48V

HI-MID

LO-MID

g
f

g
f

4 stage EQ

26dB

HPF

GAIN

PAD

R

L

PHONES

from CPU

ON

CHECK

ON/EDIT

Control

to

MONO

ST R

ST L

to

to

from

from INPUT

AFL

to

Input specifications

niaG

mirT

0

− 06

62
0

− 61

62

− 03
+ 01 − )Vm542(Bd01 + )V54.2(Bd01 + )V5.42(Bd03

− 02
+ 01

− 03
+ 01

(1~n)

*8

]R,L[

]R,L[

] (2~4)R,L[

noitcennoCDAP

TUPNIHC

TUPNI1AHCTS

TUPNI1BHCTS

TUPNIHCTS

NIKCABKLATk01 Ω 006–05 Ω sciM

MATRIX SUB IN [L, R]
STREO [L, R], MONO/C SUB IN
CH INSERT IN (1~n)
STEREO [L, R], MONO/C

INSERT IN

*8

GRP/AUX INSERT IN (1/7~8/14)
AUX INSERT IN (1~6)

*1 In these specifications, when dB represents a specific voltage, 0dB is referenced to 0.775Vrms.
*2 XLR connectors are balanced.
*3 RCA Pin Jacks are unbalanced.
*4 INPUT Phone Jacks (TRS) are balanced (T= HOT, R= COLD, S= GND).
*5 XLR connector is unbalanced.

k3 Ω

k5 Ω

daoLlautcA

ecnadepmI

006–05 Ω sciM

&

006 Ω seniL

006 Ω seniL

htiWesUroF

lanimoN

k01 Ω 006 Ω seniL

k5 Ω

006 Ω seniL

k01 Ω 006 Ω seniL

k01 Ω 006 Ω seniL)V577.0(Bd0 + )V57.7(Bd02

*1

eveLtupnI

l

*9

ytivitisneSlanimoNpilCerofebxaM

− )Vm870.0(Bd08 − )Vm577.0(Bd06 − )Vm57.7(Bd04

− (1.55 mV)Bd45 − )Vm5.51(Bd43 − )Vm551(Bd41

− (12.3 mV)Bd63 − )Vm321(Bd61 + )V32.1(Bd4

− )Vm542(Bd01 + )V54.2(Bd01 + )V5.42(Bd03

− )Vm54.2(Bd05 − )Vm5.42(Bd03 − )Vm542(Bd01

− )Vm57.7(Bd04 − )Vm5.77(Bd02

− )Vm542(Bd01 + )V54.2(Bd01 + )V5.42(Bd03

− )Vm54.2(Bd05 − )Vm5.42(Bd03

− )Vm542(Bd01

)V577.0(Bd0

RCA Pin Jack

− )Vm542(Bd01 + )V54.2(Bd01 + )V5.42(Bd03

− )Vm883.0(Bd66 − )Vm54.2(Bd05 − )Vm5.77(Bd02

− )V616.0(Bd2

− )Vm883(Bd6

+ )V32.1(Bd4 + )V3.21(Bd42

− (38.8 mV)Bd26

− )Vm542(Bd01

*6 SUB IN Phone Jacks (TRS) are unbalanced (T= SIGNAL, R= GND, S= GND).
*7 INSERT Phone Jacks (TRS) are unbalanced (T= OUTPUT, R= INPUT, S= GND).
*8 n= 56, 48, 40, 32, or 24.
*9 Sensitivity is the lowest level that will produce an output of +4dB (1.23V), or the nominal output level when the

unit is set to maximum level.

(TRS)

kcaJonohP

(TRS)

kcaJonohP

(TRS)

kcaJonohP

rexiMnIrotcennoC

*2

epyt13-3-RLX

*3

*4

*5

epyt13-3-RLX

*6

*7

Output specifications

noitcennoC

MONO/C OUT
GRP/AUX OUT (1/7~8/14)
AUX/GRP OUT (7/1~14/8)
AUX OUT (1~6)
MONITOR OUT [L, R, MONO/C]
MATRX OUT (1~8)

CH INSERT OUT (1~n)
STEREO INSERT OUT [L, R]
MONO/C INSERT OUT
GRP/AUX INSERT OUT
AUX INSERT OUT (1~6)

]R,L[TUOOERETS

*5

(1/7~8/14)

]R,L[TUOSENOHP001 Ω

*1 In these specifications, when dB represents a specific voltage, 0dB is referenced to 0.775 Vrms.
*2 All XLR connectors are balanced.
*3 INSERT Phone Jacks (TRS) are unbalanced (T= OUTPUT, R= INPUT, S= GND).

ecruoSlautcA

ecnadepmI

051 Ω 006 Ω seniL

006 Ω k01 Ω seniL)V577.0(Bd0

8 Ω senohPWm10 Wm02

04 Ω senohPWm30 Wm57

M2500 Dimensions

lanimoNhtiWesUroF

+ )V32.1(Bd4 + )V3.21(Bd42

*4 Stereo Phone Jack is unbalanced.
*5 n= 56, 48, 40, 32, or 24.

eveLtuptuO

lanimoNpilCerofebxaM

*1

l

+ )V57.7(Bd02

265 (10-7/16")

242 (9-1/2")

23 (7/8")

rexiMnIrotcennoC

*2

epyt23-3-RLX

*3

)SRT(kcaJenohP

*4

kcaJenohPoeretS

137

(5-3/8")

270 (10-5/8")270 (10-5/8")

M2500-24: 1400 (55-1/8")
M2500-32: 1642 (64-5/8")
M2500-40C: 1899 (74-3/4")
M2500-48C: 2142 (84-5/16")
M2500-56C: 2385 (93-7/8")

875 (34-7/16")

Unit : mm(inch)

General specifications

Total Harmonic Distortion Less than 0.1% (THD + N)
(Master output) 20 Hz–20 kHz @ +14 dB 600 Ω

Frequency Response 0 + 1, –3 dB
(Master Output) 20 Hz–20 kHz @ +4 dB 600 Ω

Hum & Noise

Crosstalk

Maximum V oltage Gain

CH INPUT PAD SW 26 dB
CH INPUT GAIN control 44 dB variable
ST CH 1A, 2–4 INPUT GAIN control

ST CH 1B INPUT GAIN control 30 dB variable
CH INPUT High Pass Filter 18 dB/octave roll-off below 80 Hz at −3 dB

CH INPUT Equalization

ST CH INPUT Equalization

*1

−128 dB Equivalent Input Noise.

−99 dB Residual Output Noise. (STEREO OUT,

−64 dB (68 dB S/N) STEREO OUT Master Level control and one

−80 dB (84 dB S/N) STEREO OUT, MONO/C OUT Master fader at

−81 dB (85 dB S/N) GROUP 1/AUX 7~GROUP 8/AUX 14 OUT

−75 dB (79 dB S/N) AUX 1~6, AUX 7/GROUP 1~AUX 14/GROUP

−90 dB (94 dB S/N) MATRIX OUT Master level control at nominal

−70 dB @ 1 kHz adjacent inputs.

−70 dB @ 1 kHz input to output. (CH INPUT)

−50 dB @ 1 kHz input to output. (ST CH INPUT)

*GROUP/AUX FLIP SW = off
60 dB CH INPUT to CH INSERT OUT
84 dB CH INPUT to GROUP 1/AUX 7~GROUP 8/

80 dB CH INPUT to AUX 1, 2 OUT (Pre Fader)
90 dB CH INPUT to AUX 3~6, AUX 7/GROUP 1~

84 dB CH INPUT to STEREO OUT (CH to ST)
70 dB CH INPUT to MONITOR OUT (PFL)

+15, −15 dB maximum
HIGH 10 kHz (shelving)
HIGH-MID 400–8 kHz (peaking)
LOW-MID 80–1.6 kHz (peaking)
LOW 100 Hz (shelving)

+15, −15 dB maximum
HIGH 10 kHz (shelving)
LOW 100 Hz (shelving)

(Input Gain control at Minimum)

Rs = 150 Ω (20 Hz–20 kHz)
Input sensitivity=-60 dB

MONO/C OUT, GROUP/AUX OUT, AUX OUT,
AUX/GROUP OUT)

Ch fader at nominal level.
nominal level and all Ch assign SW’s off and all

GROUP to ST SW’s off.
Master Level control at nominal level and all Ch

assign SW’s off.
GROUP/AUX FLIP SW off.

8 OUT Master Level control at nominal level
and all Ch send controls at minimum.
GROUP/AUX FLIP SW off.

level and all Matrix Mix controls at minimum
level.

AUX 14 OUT

AUX 14/GROUP 8 OUT (Post Fader)

40 dB variable

point.

Phantom Power

+48VDC is applied to balanced inputs (via 6.8 kΩ current-limiting/isolation
resistors) for powering condenser microphones ; may be turned ON or
OFF via rear-panel phantom Master switch.
When Master is ON, individual channels may be turned ON or OFF via
+48V switches (with red LED) on each input channel.

CH LED Indicators

PEAK LED (red) built into each CH INPUT turns on
NOM LED (yellow) built into each CH INPUT turns
SIGNAL LED (green) built into each CH INPUT turns on

ST CH LED Indicators

PEAK LED (red) built into each ST CH INPUT turns
NOM LED (yellow) built into each ST CH INPUT turns
SIGNAL LED (green) built into each ST CH INPUT turns

Oscillator/Noise

Switchable sine wave @ 100 Hz, 1 kHz or 10 kHz, or pink noise.

Scene Memory

Direct Scene Memory recall switches (1–8)
Switchable Scene Memory recall (1–128)

VU Meters

11 illuminated meters
(0VU= +4 dB output @ 600 Ω load)
#1 ; GROUP 1/AUX 7, AUX 1, AUX 7/GROUP 1, MATRIX 1
#2 ; GROUP 2/AUX 8, AUX 2, AUX 8/GROUP 2, MATRIX 2
#3 ; GROUP 3/AUX 9, AUX 3, AUX 9/GROUP 3, MATRIX 3
#4 ; GROUP 4/AUX 10, AUX 4, AUX 10/GROUP 4, MATRIX 4
#5 ; GROUP 5/AUX 11, AUX 5, AUX 11/GROUP 5, MATRIX 5
#6 ; GROUP 6/AUX 12, AUX 6, AUX 12/GROUP 6, MATRIX 6
#7 ; GROUP 7/AUX 13, NONE, AUX 13/GROUP 7, MATRIX 7
#8 ; GROUP 8/AUX 14, NONE, AUX 14/GROUP 8, MATRIX 8
#9 ; STEREO L, PFL/AFL L
#10; MONO/C
#11; STEREO R, PFL/AFL R

VU Meter Peak Indicators

LED (red) built into each VU meter turns on when output signal is above
the level 3 dB lower than clipping level.

Dimension

Height 265 mm (10-6/7”)
Depth 875 mm (34-3/8”) Except rear connectors
Width 56C: 2385 mm (93-7/8")

Weight 56C: 102 kg (224.9 Ibs.)

Accessory

Connecting cable (3 m) × 1

●

0 dB is referenced to 0.775 Vrms.

*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to

a 20 kHz filter with infinite dB/octave attenuation.

when pre-fader level reaches +17 dB.
on when pre-fader level reaches 0 dB.
when pre-fader level reaches −13 dB.

on when pre-fader [L+R] level reaches +17 dB.
on when pre-fader [L+R] level reaches 0 dB.
on when pre-fader [L+R] level reaches −13 dB.

48C: 2142 mm (84-5/16")
40C: 1899 mm (74-3/4")
32: 1642 mm (64-5/8")
24: 1400 mm (55-1/8")

48C: 93 kg (205 Ibs.)
40C: 84 kg (185.2 Ibs.)
32: 71 kg (156.5 Ibs.)
24: 62 kg (136.7 Ibs.)

All specifications subject to change without notice.

For details please contact:

http://www.yamaha.co.jp/english

Y AMAHA Web Site

http://www.yamaha.co.jp/product/proaudio/homeenglish/

This document is printed on chlorine free (ECF) paper.

LPA436 991223 Printed in Japan