Yamaha MC2403 User Manual [en, de, es, fr]

YAMAHA

MIXING CONSOLE

TABLE DE MIXAGE

MISCHPULTE

CONSOLA DE MEZCLA

Operation Manual Manuel d'instructions Bedienungsanleitung Manual de Operación

Congratulations!

You are the proud owner of a Yamaha MC-series Mixing Console. Whether

you chose the 8,12,16 or 24-channel model, your Yamaha mixing console is

a high-quality product which will give you superior performance in a wide range of applications. In addition .to offering a versatile mixing system, the MC-series Consoles offer electronically balanced inputs and stereo outputs to maintain optimurp signal quality over long cable runs, a versatile 3-band equalizer with sweepable mid-frequency EQ on each input channel, three independent AUX submix systems for external effects routing or additional

power amplifier feeds, cue switches for independent monitoring of all input

channels and busses, an additional MIX buss, and a built-in talkback system

for convenient communication.

Of course, the MC-series mixing consoles also offer the high standard of quality and great sound that Yamaha is famous for. We urge you to read this operation manual thoroughly in order to make the most of the mixer’s many

features and controls.

---------------------------

PRECAUTIONS

................................

CONTENTS----------------------------

FRONT PANEL CONTROLS..........................

Input Channels....................................................................................3

Master Control Section........................................................................5

REAR PANEL CONNECTORS AND CONTROLS

APPLICATION EXAMPLE

SPECIFICATIONS

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General Specifications

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Input Characteristics ........................................................................12

Output Characteristics.......................................................................12

Block & Level Diagrams....................................................................13

Dimensions.............................................................................. 14

Dette apparat overholder det gaeldende EF-direktiv vedrprende radiostpj.

Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG.

This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/ 308/EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferen cias de radio frequencia fijados por el Consejo Directivo 87/308/ CEE.

YAMAHA CORPORATION

* This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.)

LTD.

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2 3

IMPORTANT NOTICE FOR

THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANTThe wires in this mains lead are coloured in accordance with the following code:

Blue Brown

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.

The wire which is, coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

Making sure that neither core is connected to the earth terminal of the three pin plug.

■ This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.) LTD.

NEUTRAL LIVE

PRECAUTIONS

1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST

AND VIBRATION

Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity - such

as near radiators, stoves, etc. Also avoid locations which are subject to excessive dirt accumulation or vibration which could cause mechanical damage.

2. AVOID PHYSICAL SHOCKS

Strong physical shocks to the unit can cause damage.

Handle it with care.

3. DO NOT OPEN THE UNIT, OR ATTEMPT

REPAIRS OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service person nel. Opening the unit and/or tampering with the inter nal 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 dam age to the unit itself as well as other connected equipment.

5. HANDLE CABLES CAREFULLY

Always plug and unplug cables - including the AC cord - by gripping the connector, not the cord.

6. CLEAN WITH A SOFT DRY CLOTH

Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth.

7. ALWAYS USE THE CORRECT POWER

SOURCE

Make sure that the power source voltage specified on the rear panel matches your local AC mains supply:

U.S. & Canadian Model: 120V AC, 60Hz British Model : 240V AC, 50Hz General Model: 230V AC, 50Hz

FRONT PANEL CONTROLS

Input Channels

This switch attenuates the signai appiied to the corresponding rearpanei Hl-Z or LO-Z input by 20dB 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.

©GAIN control

This control adjusts the input sensitivity of each input channel between

-60dB (0.775 mV) and -20dB (77.5 mV) when the PAD switch is OFF (between -40dB and OdB when the PAD switch is ON). This continu ously variable gain control allows optimum matching with virtually any microphone or line source.

The PEAK indicator LED lights when the post-EQ signal of the corre sponding channel's Input reaches a level 3dB below the clipping level of the channel's circuitry. If the PEAK indicator lights more than only briefly on high-level tr&nsients it is necessary to decrease the input sensitivity of the channel using the GAIN control and PAD switch. Alternatively, if this does not provide sufficient attenuation, reduce the output level of the source connected to that channel's input.

0 3-band equalizer

The equalizer section provided on each input channel consists of shelving LOW and HIGH controls, and a peaking MID control with a MID FREQ control that permits sweeping the midrange center fre quency from 350 Hz to 5 kHz.

Control

HIGH MID LOW

Maximum Boost/Cut

±15 dB 10kHz @±12dB Shelving ±15 dB 0.35 to 5kHz ±15 dB 100Hz @±12dB

100

Frequency Type

Peaking Shelving

Ik 10k

FREQUENCY (Hz)

) AUX send controls (1, 2 & 3)

The MC-series mixing consoles have three indepen dent AUX busses which are fed by the corresponding AUX controls on the input channels. Each AUX control determines the level of the signal sent from that chan

nel to the correspondingly numbered AUX mixing buss, which in turn feeds the correspondingly numbered AUX SEND control and AUX SEND jack on the console's

rear panel. The AUX controls can be used to determine the amount of signal from the corresponding input channel sent to external effect devices or power amps fed by the AUX SEND jacks.

• AUX 1 is factory pre-wired for pre-EQ/pre-fader opera

tion, so the AUX 1 signal is not affected by the setting of the channel EQ controls' or fader. An internal jumper allows the AUX 1 control to be rewired for post-

EQ/post-fader operation.

• AUX 2 and AUX 3 are factory/ pre-wired for post-EQ/

post-fader operation, so the AUX 2 and AUX 3 signals are affected by the setting of the channel EQ controls and fader. Internal jumpers allow the AUX 1 control to be rewired for pre-EQ/pre-fader operation.

• An internal post-EQ jumper allows the AUX controls to

be further re-confIgured for post-EQ/pre-fader opera tion.

• REFER THE ABOVE-MENTIONED REWIRING JOBS

TO QUALIFIED YAMAHA SERVICE PERSONNEL!

) PAN pot

The PAN pot determines the position in the stereo

sound field at which the sound from that channel is

heard. When it is rotated fully counterclockwise, the

channel signal will be delivered from the left stereo out

put only, and will be heard at the far left of the sound field. If the PAN pot is turned fully clockwise, the sound from that channel will appear at the far right of the ste

reo sound field. If the PAN pot is set at its center posi tion, the channel signal will be sent equally to both the

left and right channels, causing the sound to appear at the center of the sound field. Intermediate PAN pot set

tings cause the sound to be heard at the corresponding

position.

® Channel CUE switch

When the CUE switch is pressed, the pre-EQ/pre-fader signal from that channel is fed to the PHONES output via the CUE/PHONES level control. The channel cue signal will be added to any other active cue signal. If you want to monitor only the signal from a single chan nel, make sure all other CUE switches are turned OFF.

• The CUE buss is factory-wired to be fed with a pre-EQ signal. This can be changed by internal jumpers to be post-EQ.

• REFER THE ABOVE-MENTIONED REWIRING JOB TO QUALIFIED YAMAHA SERVICE PERSONNEL!

(8) Channel ON switch

The ON switch on each channel switches the channel signal to the L and R stereo busses, the MIX outputs, the three AUX send busses. When ON (depressed), the channel signal will be sent to all these busses. When OFF, the channel’s signal will be silenced. It is therefore possible to use this switch as a mute switch to avoid unwanted microphone overspill in quiet passages, for example.

(D 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 master stereo buss. The settings of the input channel faders determine the “mix” or balance of sound levels between the instruments or other sources connected to the inputs.

■ Master Control Section

© Stereo master faders

The stereo master faders independently adjust the level of the left and right channel main stereo program buss signals appearing at the ST OUT connectors.

@ STEREO ON switch

Turning this switch ON will turn the main stereo buss signals on and off. This switch is located before the fad ers and before the meters in the signal chain. In other words, if this switch is OFF, no signal levels will be shown on the main STEREO meters. The signal sent out to MIX is unaffected by this switch.

Turning this switch ON sends the main stereo program buss signal, in stereo, to the stereo PHONES jack, via the CUE/PHONES fcontrol. The stereo CUE switch should be turned ON to permit headphone monitoring of the main stereo program, but it must be turned OFF to individually monitor input channel or AUX buss cue signals.

STEREO L ST OUT L

+ 4dB

OUT ST-L

-5dB

STEREO R ST OUT R

+ 4dB

OUT ST-R .

-6dB

) AUX RTN 1 and AUX RTN 2 controls

These controls adjust the level of the signal received at the rear-panel AUX RTN jacks and mixed into the main stereo program. Since stereo AUX returns are provided (AUX RTN 1 L & R, AUX RTN 2 L & R) the AUX RTN controls simultaneously adjust the level of the signals appearing at the corresponding L and R return inputs. The returned L and R channel signals are sent to the L and R stereo buss lines. If only a single-channel signal

is returned (i.e. a plug is inserted into only the L or R return jack), the signal will be fed to both the L and R

channels of the stereo buss.

Note that there is no dedicated AUX RTN3 control. If you want to return a signal from any device connected to AUX3, you should reroute it to one (or two, if stereo) of the input channeis.

) MIX ON switch

This enables or disables the routing of the L and R sig

nals to the MIX outputs. The MIX outputs may be used for making a simpie recording of a live performance, or

may be used to drive a second set of power ampiifiers and speakers for phase compensation, etc.

(6) Mix CUE switch

This switch routes the MiX signai to the CUE buss (allowing you to monitor the MIX signal using head phones).

@ Mix BAL pot

This control adjusts the relative left/right balance of the signals sent to the MIX outputs.

® AUX SEND (1,2 & 3) controls & CUE switches

These adjust the overall output level of the auxiliary “mixes” set up using the AUX 1, AUX 2 and AUX 3 con trols on the input channels. The levels appearing at the AUX outputs are controlled by the correspoinding AUX SEND control. These controls should be used to make

an optimal match of the AUX SEND output level of the mixing console with the input sensitivity of the effect unit, signal processing device or amplifier used. The CUE switches associated with each AUX SEND control can be used to send the corresponding AUX SEND sig nal to the PHONES jack via the CUE/PHONES level control. The AUX cue signal(s) will be added to any other active cue signal. If you want to monitor only the signal from a single AUX buss, make sure all other CUE switches are turned OFF.

) Mix fader

This fader adjusts the level of the signal sent to the MIX outputs.

MIX OUT

+ 4dB

OUT MIX

-6dB

AUX SEND

1, 2, 3

+ 4dB

)TB MIC (talkback microphone connector)

This female XLR-type connector accepts just about any standard 50 to 6000 microphone for talkback pickup. A gooseneck-type microphone that can be positioned for the most comfortable operation is an excellent choice.

) TB SELECT (talkback assignment switches)

(AUX1/AUX 2/AUX 3/STEREO)

These switches allow the talkback signal to be fed to the STEREO, AUX 1, AUX 2 or AUX 3 busses. Any

number of switches may be ON at the same time, so

you can route this talkback to a number of the console's

busses simultaneously.

)TB (talkback) level control

Adjusts the level of the talkback signal sent to the

selected buss(es).

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TB MIC

) TB (talkback) ON switch

Pressing this switch activates the talkback microphone plugged into the TB MIC connector allowing voice com munication from the console operator to the STEREO, AUX, AUX 2 or AUX 3 busses according to the setting of the talkback assignment switches.

) CUE/PHONES control and PHONES Jack

The CUE/PHONES control adjusts the level of the cue

signal sent to the PHONES jack so you can set the most comfortable headphone monitoring ievei. The ste reo phone jack accepts any standard stereo headphone set.

•The STEREO cue signal appears in stereo at the phones jack, while the channel and AUX cue signals are monaural.

j] PHONES

6 3

¥U

1/2/3

VU meters and METER SELECT switches (AUX 1/AUX 2/AUX 3/CUE/MIX)

The MC-series mixing console features four VU meters with built-in LED peak indicators for monitoring signal levels. The peak LED light at +14dB. The center meter pair (L STEREO R) continuously monitors signals on the

main stereo program buss. The AUX 1/2/3 meter can be switched to monitor signals on the AUX 1, AUX 2 or AUX 3 busses by pressing the corresponding METER assign switch. The right meter can be switched between moni toring the CUE or MIX levels by pressing the CUE or MIX METER SELECT switch.

CUE/MK

REAR PANEL CONNECTORS AND CONTROLS

® POWER switch

Flip up to turn the power ON, and down to turn the power OFF. The VU meter lamps will light when the power is ON.

) PHANTOM MASTER switch

Turn this switch ON to apply +48V DC to the LO-Z XLR-type input connectors when using phantom-pow ered condenser microphones.

•NEVER turn the PHANTOM MASTER switch ON when using line-level sources connected to the LO-Z inputs.

) MIX OUT connectors

The MIX OUT connectors (balanced XLR-type and unbalanced phone) carry the mono MIX outputs sig nals. Signal levels are the same as for the stereo OUT connectors.

)AUX SEND(1,2&3) jacks

These jacks deliver the AUX 1, AUX 2 and AUX 3

mixes, respectively, to feed an external effect device or power amplifier. Nominal output level /impedance is +4dB/10ka

(D AUX RTN 1 & AUX RTN 2 jacks

The mono or stereo output from effect units fed by the

AUX SEND jacks can be returned to the main stereo program mix via these jacks. Note that each AUX RTN offers independent return inputs for the left and right busses, accommodating the return signal from effect units featuring stereo outputs. Nominal input level/ impedance is +4dB/600i2.‘

These five jacks permit “cascading” two MC-series

mixing consoles to increase the number of available input channels. The AUX OUT jacks from the first (slave) console should be connected to the corre sponding AUX SUB IN jacks of the second (master) console, and the STEREO outputs from the slave con sole should be connected to the corresponding ST SUB IN jacks on the master console.

© INPUT CH INSERT IN/OUT Jacks

These jacks permit inserting compressors, limiters or

other types of external signal processing equipment between the head amplifier and EQ stage of each input channel. The jacks are tip-ring-sleeve types in which the tip is SEND (the output from the head ampli fier), the ring is RETURN (the input to the EQ stage), and the sleeve is ground. External equipment may be inserted using “Y” cables which branch the SEND and

RETURN lines from a tip-ring-sleeve phone plug to

two separate mono phone plugs.

•The INSERT OUT signals are factory-wired to be pre-EQ. This can be changed by internal jumpers to be post-EQ.

• REFER THE ABOVE-MENTIONED REWIRING JOB TO QUALIFIED YAMAHA SERVICE PERSONNEL!

) ST OUT (stereo) L &R connectors

The MC-series mixing consoles provide balanced XLR-type connector outputs from the main stereo buss, as well as unbalanced phone connectors. The signal delivered is a stereo mix of the input channel signals and the signals returned to the AUX RTN jacks. The stereo OUT signal will normally be used to drive a power amplifier and speaker system, powered keyboard speakers or a main house mixing console. The nominal output level/load impedance of the XLRtype output signals is +4dB/600Q. The nominal output level at the phone connectors is -6dB.

NOTE: The MC-series mixing console XLR-type con

nectors are wired according to DIN specifica tions. Pin 1 is shield (ground), pin 2 is hot (signal high) and pin 3 is cold (signal low).

INSERT OUT

<nn

INSERT IN

) Hl-Z and LO-Z INPUT connectors

Each input channel offers a choice of two input con nectors: a balanced LO-Z (low-impedance) XLR-type connector and a Hl-Z (high-impedance) tip-ring-sleeve

1/4” phone jack. The LO-Z inputs are primarily intended for electronic instruments having low-imped ance balanced outputs. The Hl-Z inputs will accept either balanced or unbalanced signals from highimpedance microphones, musical instruments or other such equipment.

APPLICATION EXAMPLE

In the system shown below the MC1603 is used as the main console in a sound reinforcement system. Three vocal microphones, six drum microphones, a microphone from the guitar amplifier and another from the bass amplifier are con nected to 11 of the 16 available LO-Z inputs. The line-level stereo outputs from an on-stage keyboard mixer are fed to two Hl-Z inputs. A total of 13 input channels are thus used, leaving three free - two for the AUX 3 returns, and one as a spare. The AUX 2 and AUX 3 busses (post-fader) feed digital reverb/effacts units to add ambience and effects where necessary (the AUX 3 returns are looped back to two input channels). The AUX 1 buss (pre-fader) drives the on-stage power ampli fiers and monitor speakers for the performers. The MIX outputs feeds a tape recorder to make a rough mono recording of the performance. The stereo OUT connectors drive the main house power amplifiers and speaker system. This is just one possible way of setting up the MCI 603 for a sound reinforcement application. The actual setup you use will, naturally, be dictated by your own particular system requirements.

SPECIFICATIONS

Ge'neral Specifications

Frequency Response Total Harmonic Distortion Hum and Noise*^

ST OUT, Mix OUT, AUX SEND

STOUT, Mix OUT

ST OUT

AUX SEND

Maximum voitage gain

20Hz — 20kHz +1/-3dB @600 Q , +4dB < 0.1%

-128dB

-96dB Residual output noise

-88dB

-64dB Master fader at nominal

-78dB AUX SEND control at nominal

-64dB

84dB 76dB 86dB

16dB

20Hz — 20kHz @600 Q,, +4dB

Equivalent input noise

Master fader at nominal

All channel ON switches off

One channel fader at nominal

All channel ON switches off AUX SEND control at nominal

One channel AUX control at nominal CH INPUT ^ ST OUT, MIX OUT CH INPUTS AUX SEND 1 CH INPUTS AUX SEND 2, 3 AUX RTN ST OUT

Crosstaik @ 1kHz

input channei equaiization

VU meters (0VU=+4dB or

1.23Vrms output ievei)

PEAK indicators

Phantom power

lOdB

6dB

66dB

-70dB

-70dB input to output, PAN ±15dB maximum cut or boost in each of three bands

HIGH MID LOW 4 illuminated meters (#1 - AUX 1,2, 3; switchable, #2 and #3 - STEREO L

and R, #4 - MIX/CUE; switchable). Peak LED on each meter turns on

when signal level reaches +14dB level.

Red LED on each channel, turn on when post-EQ signal reaches 3dB below clip level

+48VDC supplied via 6.8kQ current limiting/isolation resistors to balanced inputs for powering condenser microphones

SUB IN ^ ST OUT SUB IN ^ AUX SEND TALKBACK ^ ST OUT adjacent input channels

lOkHz*^ shelving

350Hz to 5kHz peaking

lOOHz*^ shelving

Power requirements

Power consumption MC803

Dimensions Height

Depth Width MC803

Weight MC803

US and Canadian models 120VAC, 60Hz British model 240VAC, 50Hz General model 230VAC, 50Hz

MCI 203 MCI 603 MC2403

MCI 203 MCI 603

' MC2403

MC1203 MCI 603

40W 45W SOW 60W

167 mm (6.55 in) 543mm (21.35 in) 506mm (19.92 in) 642mm (25.28 in) 778mm (30.63 in)

1050mm (41.34 in)

12.5kg (27.6 lbs)

15.5kg (34.2 lbs)

18.5kg (40.8 lbs) •

MC 2403

• 0 dB = 0.775 Vrms.

• Nominal level All faders:-10 dB All level controls: -6 dB

*1 @20Hz — 20kHz, Rs = 150Q measured with a -6 dB/octave LPF 12.7 kHz *2 Turnover/roll-off frequency: 3 dB below maximum variable level

24.5kg (54.1 lbs)

Input Characteristics

INPUT

IMPEDANCE

LO-Z 4ka Hl-Z 10ki2

10k£2

10ka

10kii

PAD

OFF

(OdB)

GAIN

-60dB

INPUT

(20dB)

-20dB

INPUT CH INSERT IN

ST SUB IN, AUX SUB IN

AUX RTN

TALKBACK IN 4kQ

INPUT

SOURCE

IMPEDANCE

50 to 600 Q

microphone or

600i2 line

600Q iine

50 to 600i2 microphone

*1) Input level required to produce rated +4dB output level. *2) Hl-Z INPUT Jacks (T=HOT, R=COLD, S=GND) *3) Insert Phone Jacks (T=OUT, R=IN, S=GND)

• 0 dB is referenced to 0.775 Vrms.

SENSITIVITY*^

-80dB (O.OSmV)

-40dB (7.75mV)

-20dB (77.5mV)

-2dB (617mV)

-12dB (195mV)

-66dB (0.39mV)

INPUT LEVELS

RATED

LEVEL

-60dB (O.SmV)

-20dB (77.5mV)

OdB

(775mV)

OdB (775mV)

+4dB

(1.23V)

+4dB

(1.23V)

-50dB (2.45mV)

MAXIMUM

NON

CLIPPING

LEVEL

-40dB (7.75m V)

+4dB

(1.23V)

+24dB

(12.3V)

+20dB (7.75V)

+20dB

(7.75V)

—

-24dB (48.9mV)

CONNECTOR

TYPE

LO-Z: XLR-3-31 type (balanced) and Hl-Z: TRS*phone jack (balanced)

TRS ^ phone

jack

Phone jack (unbalanced)

XLR-3-31 type

(unbalanced)

Output Characteristics

OUTPUT

IMPEDANCE

150i2 600i2 line

IMPEDANCE

STOUT

600fi

150i2

10k£2 line

600£2 line

MIXOUT

10ki2 line

lOkfl line

lOkilline

8i2 phones

40i2 phones

AUX SEND 1,2,3 INPUT CH INSERT OUT

PHONES

600D

100Q

600S2

100i2

*1) Insert Phone Jacks (T=OUT, R=IN, S=GND)

• 0 dB is referenced to 0.775 Vrms.

LOAD

OUTPUT LEVELS

RATED

LEVEL

MAXIMUM

NON

CLIPPING

CONNECTOR TYPE

LEVEL

+4dB (1.23V)

-6dB (388mV)

+4dB (1.23V)

-6dB (388mV) +14dB (3.87V) Phone jack (unbalanced)

+4dB (1.23V) -h20dB (7.75V) Phone jack (unbalanced)

OdB (775mV) +20dB (7.75V) TRS ^ phone jack

ImW

3mW

-^24dB (12.3V) XLR-3-32 type (balanced)

+14dB (3.87V)

+24dB (12.3V) XLR-3-32 type (balanced)

20mW

130mW

Phone jack (unbalanced)

Stereo phone jack (unbalanced)

tz ii.

X Q. OJ CD

Lowest

UI D^ISr t ^

MID FBEQ-^IStr ^

HlGH-iSr

ei.

03 o

SLUej6eiQ |3Aa-i ^ >|30|g

Dimensions

166.5 (6.55)

ilE

(1.54)

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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.

(1.54)

SBBt

SERVICE

(1.54)

MODEL

MC803 428 (16.85) MCI 203 MCI 603 MC2403

Specifications subject to change without notice

564 (22.20) 700 (27.56) 972 (38.27)

wh 506 (19.92) 642 (25.28) 778 (30.63)

1050 (41.34)

Units: mm (inch)

YAMAHA

TABLE MJXAGE

ÜV1

Français

SVl

fVI M

Manuel cnnstructions

1 1

Félicitations!

Vous êtes l’heureux propriétaire d’une table de mixage Yamaha de la série MC. Que vous ayez choisi le modèle à 8,12 ou 16 canaux, votre table de mix age Yamaha est un produit de haute qualité qui vous donnera des résultats supérieurs dans une large gamme d’applications. Outre leur système de mix age puissant, les tables de mixage de la série MC présentent également des entrées et des sorties stéréo équilibrées électroniquement pour conserver un signal de qualité optimale dans le cas de longues transmissions par câble, un correcteur de timbre à trois bandes avec bande intermédiaire mouvante sur chaque canal d’entrée, trois systèmes de mixage secondaires AUX indépen dants pour alimenter des appareils générateurs d’effets externes ou des systè mes d’amplification supplémentaires, des touches CVE pour contrôler indépendamment tous les canaux d’entrée et bus et un système “Talkback” intégré pour des communications aisées. Avec les tables de mixage amplifiées de la série MC, vous retrouverez le son et la qualité qui ont fait la réputation de Yamaha.

Veuillez lire attentivement ce manuel d’utilisation afin de pouvoir tirer le meilleur parti des fonctions et commandes de votre nouvelle table de mixage.

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PRECAUTIONS....................................................................................... 2

COMMANDES DU PANNEAU AVANT......................................................3

Canaux d’entrée..................................................................................3

Section des commandes maîtres........................................................5

CONNECTEURS ET COMMANDES DU PANNEAU ARRIERE...............7

EXEMPLE D’UTILISATION

FICHE TECHNIQUE................................................................................10

Spécifications générales

Caractéristiques d’entrée

Caractéristiques de sortie

.Schéma de principe...........................................................................13

Tableau des dimensions

^TABLES DES MATIERES

.......................................................................

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.......

............................................................14

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10 12 12

PRECAUTIONS

1. EVITEZ LES CHALEURS EXCESSIVES, L’HUMIDITE, LA POUSSIERE ET LES VIBRATIONS

Evitez d’installer cet appareil dans des endroits où il pourrait être exposé à une température ou une humi dité excessives (à proximité d’un appareil de chauf fage, par exemple). Evitez également les endroits poussiéreux ou soumis à des vibrations car cela pour rait entraîner des problèmes mécaniques.

2. EVITEZ LES CHOCS

Lés chocs risquent de provoquer des dommages internes. Manipulez cet appareil avec précaution.

3. N’OUVREZ PAS L’APPAREIL ET N’ESSAYEZ PAS DE LE MODIFIER OU DE LE REPARER VOUS-MEME

Cet appareil ne contient aucun élément que l’utilisa teur est en mesure de modifier ou de réparer luimême. Confiez tout travail d’entretien ou de révision au personnel compétent du service après-vente Yamaha. Le fait d’ouvrir l’appareil et/ou de bricoler les circuits internes entraînera l’annulation automatique de la garantie du produit.

4. METTEZ L’APPAREIL HORS TENSION AVANT DE TOUCHER AUX CONNEXIONS

Mettez toujours l’appareil hors tension avant de con necter ou de déconnecter des câbles. Ceci est impor tant afin d’éviter d’endommager non seulement l’appareil lui-même, mais également les autres appa reils connectés.

5. MANIPULEZ LES CABLES AVEC PRECAUTION

Lorsque vous branchez ou débranchez des câbles, tenez-les toujours par la fiche. Ne tirez pas sur le cor don.

6. NETTOYEZ AVEC UN CHIFFON DOUX ET SEC

Nettoyez ie coffret uniquement avec un chiffon doux et sec. N’utilisez jamais de solvants ou de diluants pour peinture.

7. UTILISEZ TOUJOURS UN COURANT

D’ALIMENTATION DE TENSION CORRECTE

Assurez-vous que la tension du secteur corresponde à celle indiquée sur le panneau arrière.

Modèle pour les Etats-Unis et le Canada :

120V secteur, 60 Hz

Modèle pour le Royaume- Uni:

240V secteur, 50Hz

Modèle universel:

230V secteur, 50Hz

COMMANDES DU PANNEAU AVANT

Canaux d’entrée

© Touche PAD

Cette touche atténue de 20 dB le signal fourni à l’entrée Hl-Z ou LO-Z correspondante du panneau arrière, avant le pré-amplificateur et la commande de gain d’entrée. La touche PAD élargit effectivement la plage des niveaux de signal d’entrée qui peuvent être, traités par la table de mixage en empêchant la saturation des circuits d’entrée lors de la réception de signaux à haut niveau.

Cette commande règle le sensibilité d’entrée de chaque canal d’en trée entre -60dB (0,775 mV) et -20 dB (77,5 mV), lorsque la touche PAD est en position OFF (entre -40dB et 0 dB, lorsque la touche PAD est en position ON). Cet type de commande de gain à réglage variable et continu permet une mise à niveau optimale avec pratiquement n’im porte quelle source, ligne ou micro.

L’indicateur à DEL s’allume lorsque le signal après correction EO du canal d’entrée correspondant atteint un niveau situé à 3 dB en des sous du niveau d’écrêtage des circuits du canal. Si l’indicateur PEAK s’allume plus que brièvement dans les passages à haut niveau, il est nécessaire de diminuer la sensibilité d’entrée du canal au moyen de la commande de GAIN ou de la touche PAD correspondante ou, si cela ne suffit pas, de réduire le niveau de sortie de la source connectée à l’entrée de ce canal.

@ Correcteur à trois bandes

La correction de timbre (EQ) de chaque canal d’entrée est assurée par des commandes de coupure (shelving) LOW et HIGH et une com mande d’écrêtage (peaking) MID, à laquelle est associée une com mande MID FREQ qui permet de déplacer la fréquence centrale de la bande intermédiaire entre 350 et 5 kHz.

Commande

HIGH MID ±15 dB LOW

10 100

Acc./Att./

max

±15 dB 10kHzà±12dB Coupure

±15 dB 100Hzà±12dB

Fréquence Type

0,35 — 5kHz

FREQUENCY (Hz)

Ecrêtage Coupure

10k

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