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