Yamaha RM602 User Manual [en, de, fr]

YAMAHA

Recoding Mixer

Table de Mixage d’Enregistrement

Airfnahmemischpult

Operating Manual

Mode d’Emploi

Bedienungsanleitung

CONTENTS
CAUTION (PREPARED IN ACCORDANCE WITH UL STANDARD 1270)	..................................2
THE CONTROLS AND THEIR FUNCTIONS...................................................................................	3
PRECAUTIONS.....................................................................................................................................	3
REAR-PANEL CONNECTIONS..........................................................................................................	7
APPLICTION EXAMPLES................................................................................................................	9
SPECIFICATIONS...........................................................................................................................	11
BLOCK DIAGRAM...........................................................................................................................	13
LEVEL DIAGRAM..............................................................................................................................	14
TABLE DES MATIERES
PRECAUTIONS A PRENDRE .......................................................................................................	16
LES COMMANDES ET LEURS FONCTIONS ................................................................................	17
CONNEXIONS DU PANNEAU ARRIERE ......................................................................................	21
EXEMPLES D’UTILISATION .........................................................................................................	23
CARACTERISTIQUES ................................................................................................................	25
SCHEMA SIMPLIFIE ....................................................................................................................	27
DIAGRAMME DE NIVEAU ............................................................................................................	28
INHALTSVERZEICHNIS
VORSICHTSMASSNAHMEN ........................................................................................................	30
BEDIENUNGSELEMENTE UND FUNKTIONEN ...........................................................................	31
RÜCKSEITIGE ANSCHLÜSSE ....................................................................................................	35
ANWENDUNGSBEISPIELE .........................................................................................................	37
TECHNISCHE DATEN ................................................................................................................	39
BLOCKSCHALTBILD ..................................................................................................................	41
PEGELDIAGRAMM ....................................................................................................................	42

I

Thank you for choosing the Yamaha RM602 Recording Mixer. The RM602 is a compact 6-in/2-out mixing console offering top-quality sound and a comprehensive range of control features. The RM602 has been specifically designed to provide op­ timum performance in a small sound recording system. To, take full advantage of the outstanding performance and flexibility provided by this mixer, we urge you

to read this operation manual thoroughly.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

Explanation of Graphical Symbols

The lightning flash with arrowhead symbol, within an equilateral triangle, Is Intended to alert you to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert you to the presence of important operating and maintenance (servicing) instructions in the literature accom­ panying the appliance.

CAUTION (PREPARED IN ACCORDANCE WITH UL STANDARD 1270)

1.Read Instructions —All the safety and operating instructions should be read before the appliance is operated.

2.Retain Instructions —The safety and operating instructions should be retained for future reference.

3.Heed Warnings—All warnings on the appliance and in the operating instructions should be adhered to.

4.Follow Instructions —All operating and use instructions should be followed.

Water and Moisture —The appliance should not be used near water —for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc.

6.Carts and Stands—The appliance should be used only with a cart or stand that is recommended by the manufacturer.

7.Wall or Ceiling Mounting—The appliance should be mounted to a wall or ceilling only as recommended by the manufacturer.

8.Ventilation—The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings.

9.Heat—The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers) that produce heat.

10.Power Sources —The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance.

11.Power-Cord Protection —Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance.

12.Cleaning—The appliance should be cleaned only as recommended by the manufacturer.

13.Nonuse Periods—The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.

14.Object and Liquid Entry —Care should be taken so that objects do not fall into and liquids are 'not spilled into the inside of the appliance.

15.Damage Requiring Service —The appliance should be serviced by qualified service personnel when:

A.The power-supply cord or the plug has been damaged; or

B.Objects have fallen, or liquid has been spilled into the appliance; or

C.The appliance has been exposed to rain; or

D.The appliance does not appear to operate normally or exhibits a marked change in performance; or

E.The appliance has been dropped, or the enclosure damaged.

16. Servicing—The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel.

THE CONTROLS AND THEIR FUNCTIONS

INPUT SECTION

1. INPUT SELECTOR

This four-position input selector sets the input sensitivity of the six channel inputs to -50, -35 or -20 dB. Note

also that the fourth position on channels 1 —4 is labelled "TAPE", while the same position on channels 5 and 6 are labelled "PHONO L" and "PHONO R". When the TAPE position on inputs 1—4 is selected, the corre­ sponding TAPE IN input (see rear panel) is selected as input rather than the channel INPUT. When the PHONO position on inputs 5 and/or 6 is selected, the correspon­

ding phono input channel (PHONO L or PHONO R) is selected.

The -50/-35/-20 dB sensitivity positions on the input selector allow you to match the input sensitivity of each input channel to match the source —e.g. microphone, electronic music instruments or line level sources. This allows you to use just about any source on any input channel without overloading the mixer's electronics. Most microphones —especially dynamic types —will work best with the -50 dB input setting. Some high-output con­ denser and electret mics may require the -35 dB setting.

PRECAUTIONS

Be sure to turn down all faders when making input/ output connections.

Do not expose the RM602 to direct sunlight or other sources of heat such as radiators, etc.

Irreparable damage may result from opening the RM602 cabinet or attempting to alter the internal circuitry.

Avoid dropping your RM602 or subjecting it to any type of shock, as impaired performance may result. Do not attempt to clean the RM602 with benzine or other solvents, as these may cause discoloration or deformation of the cabinet. Clean the unit with a soft, dry cloth.

The -35 dB setting is most ideal for direct input from electric guitars and basses. The -20 dB setting is the "line level" setting, accepting output from most line-level

sources: some synthesizers and electronic keyboards, and most standard audio sources (tape players, etc.).

The TAPE position on the first four input channels lets you switch from the INPUT sources to the outputs from a 4-channel multitrack recorder without having to repatch cables. This is particularly handy when you want to remix the recorded material on 4-track tape down to standard stereo format.

The PHONO L and PHONO R positions on the channel 5 and 6 selectors direct the output from the RM602's built-in phono equalizer amplifier (see rear panel) to channels 5 and 6, subject to all the controls available on those channels.

2. HIGH AND LOW EQ

The HIGH EQ and LOW EQ controls provide some tonal control over the sound of each input channel. The HIGH control provides plus or minus 15 dB of boost or cut in the frequency range above 10 kHz ("shelving" EQ), while the LOW control permits boosting or cutting frequencies below 100 Hz by the same amount.

HIGH EQ is valuable for emphasising the high frequen­ cies of certain instruments—cymbals, for example —and for reducing hiss and noise on channels in which the source has no essential frequencies in the range above 10 kHz.

LOW EQ can be boosted to make a bass sound bassier, or cut to minimize rumble or microphone proximity effects.

3. EFFECTS SEND LEVEL

This control determines the amount of that channel's signal which is sent to the internal effects mixing buss. This effects buss feeds the rear-panel EFFECTS SEND jack—via the master effects send level control (see MASTER SECTION)—which normally feeds an external echo or reverberation device. Having independent effects send controls on each input channel means that the amount of effect applied to the signal from each, channel can be set independently.

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The signal sent to the effects buss is "post EQ/fader", meaning that it is taken from a point after the equalizer and channel fader circuitry.

4. MONITOR PAN CONTROL

One of the more attractive features of the RM602 is its independent stereo monitor buss which makes it

possible to monitor a completely indepedent stereo mix of the input channel or tape signals. The monitor PAN control determines the placement of that channel's sig­ nal in the stereo monitor sound field. Turning the pan control fully to the left sends the signal only to the left monitor buss—meaning that you hear the signal ony from the left monitor speaker. Conversely, turning the control all the way to the right sends the signal to the right monitor buss only. Pan control positions in be­ tween extreme left and right send a corresponding amount of the signal to both busses, causing the signal to appear in the corresponding position in the stereo sound field.

MONITOR POST/TAPE SELECTOR (CHANNELS 1-4)

MONITOR POST/STEREO L OR STEREO R SELECTOR (CHANNELS 5 & 6)

On channels 1 through 4 this selector determines whether the channel input source (POST) or the cor­ responding tape input signal is sent to the monitor buss. On channels 5 and 6 the choice is between the channel input source or the left (CH 5) or right (CH 6) stereo mixing buss signals. The fact that the channel signal position is marked "POST" indicates that the channel signal is derived from a point after the equalization and fader stages.

6. MONITOR LEVEL

This control determines the amount of that channel's signal (or the selected tape or stereo buss signal) which is fed to the stereo monitor mixing buss via the monitor PAN control discussed above. Independent monitor level controls on each channels permit a monitor mix to be set up independently from the input channel faders.

7. PAN

This control has the same effect as the monitor PAN control, discussed above, except that the channel signal is panned across the main program buss which feeds the mixer's main stereo outputs.

Panning is one of the mor^ "conventional" functions that a stereo mixer performs, permitting acoustic place­ ment of each instrument or group of instruments at any desired location in the stereo sound field. I.e., the sound of a particular instrument can appear to come from the left speaker, right speaker, or anywhere in between. This positioning of the signal from each input channel is per­ formed using "pan pots". The position of the pan pots relates directly to the acoustic position of the respective channel's signal; pan pot fully clockwise means that the sound comes from the right channel speaker, fully coun­ terclockwise means that the sound comes from the left channel speaker, and at intermediate pan pot settings the sound appears to be located at the appropriate point between the left and right speakers.

The pan pots can also be used to create the effect of "floating" an instrument from one side of the stereo sound stage to the other.

Generally, you'll use the pan pots to create the desired acoustic image.

8. INPUT FADER

The input faders are what provide the actual "mixing" function in a mixer. They permit individual adjustment of the levels of the six input sources so you can achieve just the right overall balance between instruments, vocals, or whatever you are mixing.

These are the controls that you'll be using the most, and how they are used can make the difference between excellent and mediocre sound. Maximum signal-to-noise ratio and minumum distortion, and therefore the best sound, is generally obtained with fader settings between about 1/3 and 3/4 of the fader scale. Fader settings that are too high or too low should be avoided by increasing or decreasing the level of the source whenever possible. Most electronic keyboards and electric guitars have an output level control, and microphone output level can be adjusted by changing the distance of the microphone from the sound source.

MASTER SECTION

9. TAPE OUT SWITCHES

Rather than always having input channels 1 through 4 feed the corresponding TAPE OUT jacks, these switches make it possible to send the left stereo buss signal to either the TAPE OUT 1 or 3 jacks, and the right stereo buss signal to either the TAPE OUT 2 or 4 jacks. This makes it possible to reconfigure the system to mix the input channels down to stereo on the recorder con­ nected to the TAPE OUT jacks.

STEREO L Signal-	STEREO L Signal-	TAPE OUT LINE IN
CH1 Signal-«“^	CHI Signal———

L»irÉ~li-»3

-_@L_

CH2 Signal'

R»2l ED lR>-4

CH4 Signal'

STEREO R Signal-

STEREO R Signal'

10. EFFECTS RETURN

The output from the effects device you use (normally echo or reverberation, fed by the EFFECTS SEND jack) is returned to the EFFECTS RETURN jack and fed to the stereo mixing buss via the EFFECTS RETURN con­ trol. In other words, this control determines how much

of the externally processed signal is mixed back into the main stereo program.

11. AUX IN

The RM602 has a pair of AUX IN terminals that make it possible to mix an extra stereo signal in with the sources present at the six input channels. The AUX IN control adjusts the level of the AUX IN signal in relation to the rest of the program. What you connect to the AUX IN terminals depends entirely on your specific application, but here are just a few examples:

1.You could connect the outputs from a stereo cassette deck to the AUX IN terminals and play back a tape

of your favorite band. Then you can mix in your own instrument and play along —a great way to practice.

2.With the same setup as in number 1, above, the cassette tape can be supplying background music while you mix in a narration and/or sound effects for your audio/visual show and record the mixed program on a second tape recorder.

3.Another possible use for this feature is as extra inputs if the six main input channels are all in use. An elec­ tronic keyboard or other line-level source could be connected to the AUX IN terminals with a phone-to- RCA pin plug adaptor and mixed in with the, rest of the program using the AUX control. Of course you don't get any tone control or panning capability, but if you need the extra inputs, they're available.

12. EFFECTS SEND MASTER LEVEL

This controls sets the overall level of the effects mix— set up by the EFFECTS control on each input channel — fed to the EFFECTS SEND jack. Normally, this control . will be set to provide the optimum input level for the effects device you are using. .

13. MONITOR MASTER LEVEL

This control determines the overall level of the monitor mix —set up by the MONITOR level and PAN controls on each input channel—fed to the stereo MONITOR OUT jacks and the PHONES jack. Use the master MONITOR control to set a comfortable headphone listening level.

14. MASTER RADERS

These controls independently set the overall output level from the left and right stereo busses. These signals ap­ pear at the STEREO L OUT and STEREO R OUT jacks.

15. STEREO PEAK LEVEL METER

In the input fader section we discussed the importance of proper fader setting in order to achieve the best pos­ sible sound quality. The RM602's LED peak meters are a tremendous aid in setting optimum fader levels.

Two meters are provided - one each for the left and right stereo output channels. Each meter consists of 13 LED segments that light in sequence to show the peak signal level for the respective channel. Meter display range is from -20 dB to -t-8 dB. Levels below 0 dB

are displayed in green, 0, -t-1 and -1-3 dB levels are displayed in orange, while -t-5 and -1-8 dB levels are displayed in red. Watching the meters you can easily see when signal levels are high enough to present a danger of overload distortion — signals that light the red LEDs are likely to cause distortion. On the other hand, if the meters almost never reach the 0 dB level, then the over­ all program level is too low. Once the optimum program level has been set, peaks in the program will cause the orange LEDs to flicker occasionally, and most of the green LEDs will stay lit most of the time. This applies mainly to the average music program. Some types of program will have a completely different effect on the meters, requiring appropriate level adjustment. In general, though, it is a good idea to avoid a lot of peaks in the

red region. Also remember that when only one instru­ ment is playing the level might look quite low on the meters, but when instruments connected to all six inputs start to play their individual levels can add up to overload distortion. So check the meters when the entire program is playing.

16. HEADPHONE JACK

This is a convenient feature in that it lets you directly plug in any standard pair of stereo headphones'for monitoring without the need for an external amplifier.

17. POWER SWITCH

This is the power switch. When the power is turned ON, the lowest position on the level meter ("oo") will light up.

REAR-PANEL CONNECTIONS

REAR PANEL

1. CHANNEL INPUTS

These jacks are the main inputs to the RM602's six input channels. They accept both line-level and microphone input depending on the setting of the respective input selector switch. Standard 1/4" phone jacks insure com­ patibility with just about any electronic instrument or microphone.

2. EFFECTS SEND AND RETURN

The output from the EFFECTS SEND jack is fed to

the input of an external signal processing device such as delay or reverb (The Yamaha 015СЮ is a superb digital delay unit, while the R1000 offers high-quality reverb effects).

The output from the external signal processing device is then fed back to the EFFECTS RETURN jack from which it is mixed with the main stereo program via the EFFECTS RETURN level control. When the EFFECTS RETURN signal is received in stereo, input to both the EFFECTS RETURN L and R terminals; when received in mono, input to the L terminal.

3. PHONE EQ AMP INPUTS AND GND TERMINAL

The RM602 has a built-in phono equalizer amplifier which makes it possible to directly connect the stereo outputs from a conventional turntable (record player) to these inputs, permitting the phono signal to be used alone or mixed with other inputs. The left and right phono channels feed input channels 5 and 6 when the channel 5 and 6 input selectors are set to PHONO L and PHONO R, respectively.

Be sure to connect the ground wire from the phone player to the GND terminal. When the turntable is not connected, insert a short plug into the PHONO terminal.

4. TAPE INPUTS AND OUTPUTS

Four inputs and outputs are provided for direct connec­ tion to a 4-channel multitrack tape deck —such as the Yamaha MT44D or MT44. The outputs from the tape deck connect to the RM602 TAPE IN jacks, and the tape deck inputs connect to the RM602 TAPE OUT jacks. The tape inputs are selected for mixdown or monitoring by setting the appropriate channel input selectors (channels 1—4) to TAPE. Input channels 1 through 4 feed the respective TAPE OUT jacks.

These specialized inputs and outputs mean that the tape deck can stay connected all the time —unlike many more expensive mixers with which you have to keep patching and repatching cables whenever you need to change from line to tape input.

5. AUXILIARY INPUTS

Any line-level stereo (or mono if necessary) signal can be added to the main program by these terminals. This is a great place to connect the outputs from a stereo cassette deck, for example.

6. STEREO OUTPUTS

These are the main outputs from the RM602. They carry the stereo program set up at the input channels and AUX inputs. Both standard 1/4" phone jack and RCA pin jack output terminals are provided.

7. STEREO INSERT

This is a TRS (Tip Ring Sleeve) type phone jack, incor­ porating both the insert send and receive lines. The STEREO L and STEREO R INSERT points make it possible to patch external signal processing equipment independently into the left an^ right stereo busses, preceding the master stereo faders. This is an ideal place for insertion of graphic equalizers, Yamaha GQ1031 for example, for precise response tailoring of the overall stereo program. The TRS jacks are wired as shown in the following diagram.

INPUT GND

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8. MONITOR OUTPUTS

These are the line outputs from the stereo monitor buss. They can be fed to a stereo power amplifier and monitor speaker system, or directly to a pair of powered monitor speakers such as the Yamaha MS10.

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APPLICATION EXAMPLES

1. Check out your original arrangements or make topquality demo tapes with an RM602 and a 4-channel multitrack recorder (and you can play all the instru­ ments youselfl).

. The ideal companion 4-track multitrack cassette recorder for the RM602 is the Yamaha MT44D. Both the RM602 and MT44D can be conveniently housed in the RB35B rack, which also features a handly builtin patch bay.

2.The RM602 makes a great on-stage keyboard mixer. You can control the balance and sound of your keyboard setup before sending your signal to the sound reinforcement mixer.

3.The RM602 provides extensive mixing flexibility for superb sound at band practice or mini-concerts.

4.If you're a "videophile," you need a good'multifunction mixing system for post-production work like adding background music, narration or sound effects. The RM602 is ideal.

I SYSTEM EXAMPLES: RECORDING SYSTEM

Performen's monitor

Compressor/limiter

■ A MULTITRACK RECORDING SYSTEM

WHAT YOU NEED

Basically, all you need for a simple multitrack recording setup are your instruments, a couple of good mics (if you're going to be recording voice or acoustic in­ struments), a 4-channel multitrack recorder such as the Yamaha MT44D, an RM602 and a pair of headphones. With this simple system you can create surprisingly com­ plex recordings with your band, or by yourself. And although the term "4-track recorder" seems to imply

that you can only record 4 individual parts, you can ac­ tually record up to ten individual parts using a technique known as "ping-ponging" (for details on this and many other recording techniques, refer to the Yamaha Multi­ track Guidebook). There's no better way to brush up your compositions, arrangements and playing technique, and then show it all off in the form of a high-quality demo tape. To make a demo tape you'll need a regular stereo cassette deck to "mix down" to from the original 4-track master tape.

MORE INSTRUMENTS FOR MORE CREATIVE VERSATILITY

Once you get set up and rolling with your multitrack system, you'll discover that the more instruments you have available the better. This allows you to create more diverse tonal textures and interesting combinations of sounds (can you imagine 10 tracks of guitar? Interesting at first but it would soon get pretty tiresome). One in­ strument that is not so limited in terms of the sounds it produces is the synthesizer. With carefully planned syn­ thesizer "patches" that produce a diverse, but carefully matched, range of voices, you could create a complete composition that would not be in the least bit tiresome.

Yamaha offers an extensive line of synthesizers that are ideal for the purpose —all the way from the tiny CS01-II monophonic synthesizer right up to the professibnally acclaimed DX-series Digital Programmable Algorithm synthesizers.

Rhythm is another problem that most multitrack record­ ists encounter sooner or later. Unless you're a drummer, it's probably impractical to buy or borrow a complete set of drums for your "studio." Once again, Yamaha comes to the rescue with the exciting new RX-series digital rhythm programmers. These are drum machines that not only sound like the real thing (the drum sounds are digitally recorded), but offer extensive programming versatility as well as MIDI (Music Instrument Digital Interface) compatibility.

EXTRA MONITORING CAPABILITY

With a little experience your recordings should start to sound quite professional, and you'll probably find you need a bit more monitoring versatility than a pair of headphones provides. At this point you should check out the Yamaha Producer Series MS10 Monitor Speaker. This compact speaker features a high-quality built-in 20 watt power amplifier, and has volume, bass and treble controls on the front panel.

Of course, if you want to go ail the way you can use a high-quality stereo power amplifier and monitor speakers

— Yamaha offers an outstanding selection.

MORE TO COME

The Yamaha lineup of products specifically designed for the small recording studio is expanding. More and more products that will help you make professional-quality recordings will become available in the near future.

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SPECIFICATIONS

Frequency Response	20 Hz ~ 20 kHz
(@10 k-ohms. Rated Level)	(-M, -2 dB)
Total Harmonic Distortion	Less than 0.05%
(20 Hz ~ 10 kHz, 10 k-ohms, -MO dB)
Noise Level*	•
(20 Hz ~ 20 kHz, Input Shorted, INPUT SELECT
"-50”)
Equivalent Input Noise	-122 dB
Residual Noise (STEREO OUT EFFECTS SEND)	-101 dB
STEREO OUT	- 89 dB
(MASTER Fader: nominal All CH Faders: minimum)
MONITOR OUT	- 79 dB
(MONITOR Volume: nominal. All CH MONITOR
Volumes: minimum)
EFFECTS SEND	- 89 dB
(EFFECTS SEND Volume: nominal. All CH
EFFECTS Volume: minimum)
Maximum Output Levei	-M7.5 dB
(lOk-ohms, THD 0.2%, 20 Hz ~ 20 kHz)
Maximum Voitage Gain
CH INPUT to STEREO OUT	52 dB
CH INPUT to MONITOR OUT	68 dB
CH INPUT to EFFECTS SEND	58 dB
CH INPUT to TAPE OUT	46 dB
CH INPUT to ST INSERT OUT	46 dB
TAPE IN to STEREO OUT	12 dB
TAPE IN to MONITOR OUT	22 dB
AUX IN to STEREO OUT	16 dB
EFFECTS RETURN to STEREO OUT	16 dB
ST INSERT IN to STEREO OUT	6 dB
Crosstalk (1 kHz)
Input CH to Input CH	- 60 dB
Input CH to Output CH	- 60 dB
Equalizer Characteristics
HIGH-EO (10 kHz Shelving)	± 15 dB
LOW-EQ (100 Hz Shelving)	± 15 dB
Power Requirements
(UL, U.S.A.)	AC120 V, 60 Hz
(General)	AC110, 120, 220, 240 V
	50/60 Hz
Power Consumpsion	15 W
Dimensions (W X H x D)	340 X 73 X 325 mm
	(13-3/8" X 2-7/8" X 12-3/4")
Weight	3.2 kg (7 lbs. 1 oz.)
Specifications	subject to change without notice.

* Measured with a -6 dB/octave LPF 12.7 kHz. OdB = 0.775 V r.m.s.

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INPUTS

	INPUT	INPUT	INPUT	SOURCE	SENSITIVITY*	INPUT LEVEL
	TERMINALS	SELECT	IMPEDANCE	IMPEDANCE'	(MAXIMUM GAIN)	NOMINAL LEVEL	MAX. NON­	CONNECTOR
							CLIPPING LEVEL
		-50 dB			-62 dB	-50 dB	-22.5 dB
	CH INPUT			50-250 ohms	(0.62 mV)	(2.5 mV)	(58.1 mV)
					-47 dB	-35 dB	-7.5 dB	PHONE JACK
	CH1-CH6	-35 dB	20 k-ohms	MIC or
					(3.5 mV)	(13.8 mV)	(327 mV)
				600 ohms LINES
		-20 dB			-32 dB	-20 dB	-I-7.5 dB
					(19.5 mV)	(77.5 mV)	(1.84 V)
	TAPE IN CH1~CH4		10 k-ohms	TAPE DECK	-22 dB	-10 dB	■H7.5 dB	PIN JACK
					(61.5 mV)	(245 mV)	(5.81 V)
	PHONO IN CHS, CH6		47 k-ohms	TURNTABLE	-62 dB	-50 dB	-22.5 dB	PIN JACK
					(0.62 mV)	(2.5 mV)	(58.1 mV)
	AUX IN (L, R)		10 k-ohms	600 ohms LINES	-26 dB	-20 dB	+ 20.0 dB	PIN JACK
					(38.8 mV)	(77.5 mV)	(7.75 V)
	EFFECTS RETURN (L, R)		10 k-ohms	600 ohms LINES	-26 dB	-20 dB	•f20.0 dB	PHONE JACK
					(38.8 mV)	(77.5 mV)	(7.75 V)
	ST INSERT IN (L, R)		10 k-ohms	600 ohms LINES	-16 dB	-10 dB	+ 20.0 dB	PHONE JACK
					(123 mV)	(245 mV)	(7.75 V)	(TRS)

OUTPUTS

OUTPUT TERMINALS	OUTPUT	LOAD		OUTPUT LEVEL
	IMPEDANCE	IMPEDANCE	RATED LEVEL	MAX. NON­	CONNECTOR
				CLIPPING LEVEL
STEREO OUT (L, R)	330 ohms	10 k-ohms LINES	-10 dB (245 mV)	+ 17.5 dB (5.81 V)	PHONE JACK & PIN JACK
MONITITOR OUT (L, R)	330 ohms	10 k-ohms LINES	0 dB (775 mV)	+ 17.5 dB (5.81 V)	PHONE JACK
EFFECTS SEND	330 ohms	10 k-ohms LINES	-10 dB (245 mV)	+ 17.5 dB (5.81 V)	PHONE JACK
TAPE OUT (1-4)	330 ohms	10 k-ohms LINES	-10 dB (245 mV)	+ 17.5 dB (5.81 V)	PIN JACK
ST INSERT OUT (L, R)	330 ohms	10 k-ohms LINES	-10 dB (245 mV)	+ 17.5 dB (5.81 V)	PHONE JACK (TRS)
PHONES	100 ohms	8 ohms PHONES	-22 dB (61.6 mV)	- 4.5 dB (462 mV)	STEREO PHONE JACK

* Sensitivity is the towest ievei that wiii produce an output of -10 dB. 0 dB = 0.775 Vr.m.s.

Ail inputs and outputs are unbalanced.

DIMENSIONS

Unit: mm (Inch)

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BLOCK DIAGRAM

|-MIX BUSSES-I

ID uj		b	pF
(T	(t	UJ	P	C
ID	UJ	U.	Z	z
P f . l i . 0				0
b	M	ID	ss

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