How to use this manual Hf you are an engineer or technician who is familiar with sound system design, much of this manual will serve as a review for you. The basic features are presented in the “BRIEF OPERATING INSTRUCTIONS” section. Check this and the “SPECIFICATIONS” section, and you will see most of what you need to know. The balance of this manual provides background information for better utilization of the console and auxiliary equipment.
Table of contents PAGE 246 2-10 212 215 2-18 2-20 2-23 5855882 47 48 & 4-10 410 SECTION TOPIC 211 212 213 214 218 2186 421 422 423 4.24 425 426 43 4.31 432 44 444 442 443 44.4 445 45 45.1 452 5.
PAGE SECTION TOPIC 711 712 713 7.1.4 718 718 747 7.18 7.2 7.2.1 722 7.33 73 734 732 8 8.1 8.11 8.1.2 813 814 8.15 82 8.2.1 822 91 211 9.1.2 2.1.3 8.1.4 92 a3 8.
List of illustrations PAGE# FIG# 210 23 212 24, 215 26, 219 286 2-19 21 220 28 222 29 228 210, 223 211, 33 3-1, 351 852 38 39. 38 3-10. 38 311, 353 38 312, 38 313 38 3-14, 354 39 3-15. 39 3-16. 39 3-17. 39 3-18. 39 318, 39 3-20. 310 321 312 322 4-3. 44 44, 46 4-5. 46 48, 47 4-7.
PAGE FIG TINE (& SECTION, WHERE NECESSARY TO DISTINGUISH ONE DRAWING FROM ANOTHER) 52 51, DYNAMIC RANGE AND HEADROOM IN SOUND SYSTEMS 53 52, HEADROOM IN DIFFERENT APPLICATIONS &1 6-1, REMOVAL OF MODULE FROM PM1800 62 6-2. INTERNAL JUMPER WIRING FOR PRE OR POST FARED (& EQ) SENDS ON AUX 3 THROUGH AUX 83 &3 INTERNAL JUMPER WIRING FOR PREQUEL AND POST-E AUX SENDS (WHEN AUX 1 OR AUX 2 PREPOSTEROUS SWITCH IS BET TO “PRES” OR AUX 3 THROUGH 6 JUMPERS ARE IN FACTORY-WIRED “PRE" POSITION).
SECTION 1 Introduction The PM1800 is a professional audio mixing console with the kind of flexibility, performance and reliability for which Yamaha has earned a worldwide reputation. It picks up where the popular M1500 series left off, with still more functions, a higher level of performance, and a greater degree of versatility than ever before. The console is available with input channels. There are eight group mixing bussestowhich any of the input channels can be assigned.
Accompanying the tailback and oscillator functions is a communications input. That input will accept any mic or line level audio signal, typically from a professional intercom system, anther console’s attack outpost, or a stage manager’s mic.
SECTION 2 Brief operating instructions NOTE: In the caption of each module illustration, we oo have included the Yamaha module part number in parentheses. 3 2.1 PM1800 FRONT PANEL FEATURES: T o @ FIGURE 2-1. PM1600 INPUT MODULE (IP1800).
2.1.1 The Input Module 1. 12345678 (Assign} These locking gray switches assign the channel output to group mixing buses 1 through 8. 2. CONJOINT-8 (Switch) A 3-position rotary switch is mounted concentrically with and determines the function of the PAN pot. When the switch is ON, the PAN pot (inner knob) affects signal which is assigned to odd-numbered (counterclockwise rotation) and even-numbered (clockwise rotation) group buses.
8. EGGCUP This red LED turns on when the post-E signal lever is 3 dB below clipping, warning 1o decrease the EQ boost and/or to turn down the signal level at the channel input gain stage. Clipping at this stage can occur even though the input signal is not clipping, due to boost (gain) applied with the EQ circuitry. 10. 20 ~ 400 Hz (H.P. fitter) This rotary control sweeps the cutoff frequency of a high pass filter (low cut) from 20 Hz to 400 Hz. The filter slope is 12 dB/octave.
e L SPRAIN-S CUE/SOLO @ 15. o (Phase) This switch reverses the polarity of pins 2 and 3 of the channel's XLR input connector. When this switch is up, pin 2 is the signal high conductor, and when the switch is engaged, pin 3 is high. This eliminates the need o rewires connectors or use adapters for out-of-phase {reversed polarity} audio sources.
once the individual output mixes have been established, the engineer will want to listen o the “most important output mix® during the performance, possibly the main house feed or the vocal group. However, should feedback occur, or should any other condition require attention, the PM1800 enables the engineer to instantly check any input channel or channels by pressing their CUE/SOLO switch{es).
-0 P10 2.1.2 The Group 1 To Group 4 Modules ©The upper halves of the GROUP 1 through GROUP 4 < modules include the circuitry for the AUX SEND Master = through 4 and AUX RETURN inputs 1 through 4. These BE N modules are similar, differing only in the actual group R bus, aux send and aux return numbers. The following descriptions of one of these modules Bell is typical of all four (GROUP 1 through GROUP 4).
AUX RETURN {AUX SECTION) 24, 12345878 (Group Assign) These locking switches assign the AUX RTN signal to group mixing buses 1 through 8. 25. ON/OFF/7-8 (Switch) A 3-position rotary switch is mounted concentrically with and determines the function of the BALKAN pot. When the switch is ON, the BALKAN pot (inner knob) affects signal which is assigned to odd-numbered {counterclockwise rotation) and vane-numbered {clockwise rotation) group buses.
AUX RETURN AUX SEND GROUP TO MATRIX L w GROUP CURE With a stereo AUX input, pressing this switch applies signal from the AUX R (N to the cue bus, where it is mixed to mono with any AUX L. cue signal (ref. This signal is fed to the Cue and Phones outputs. When the console is in cue made (refer to SOLO switch and this CUE R switch {and/or the CUE LEMON switch) is engaged, the aux return signal replaces any master signal in the corresponding side of the Cue output and the Phones output.
bus. it does normally affect the Group VU meter display, unless an internal jumper has been moved so the meter is driven from a point ahead of this switch. 40, (Group Out Wader) This fared controls the audio signal level from the group mixing bus which is applied to the GROUP OUT, 41.
2.1.3 The Group 5 To Group § Modules The upper halves of the GROUP 5 through GROUP modules include the circuitry jor the MIX MATRIX. 3 e, Yo, Group 5 and GROUP & modules also include AUX SEND Master circuits, respectively (their function is identical to the AUX SEND 1 4 features covered in the GROUP 1 4 module description.
ANZUS oz-a 1 2 ozm oz 3 a Oz\e Zvc ozm MATRIX MASTER CUE fl_ MATRIX 42. 12345678 (Matrix Mix Love Controls) These 8 rotary controls adjust the level of signal from the correspondingly numbered group buses applied to the module’s MATRIX OUT. 43. MATRIX MASTER The Matrix Mix revel controls (1, 2, 3, 4,5, 6, 7, 8) permit a mono mix to be derived from the eight group buses. The MATRIX MASTER control then sets the overall level of this 8:1 mix just before it is rated to the MATRIX OUTPUT XLR connector.
bonbon Stooge 46. 12345678 (Group Mixing Bus Assign) These locking switches assign the Talk back or oscillator signal to group mixing buses 1 through 8. 47. AUX 1 -6 (Assign) These six locking switches assign the TOSCA signal directly to the correspondingly numbered auxiliary mixing buses. 48, ST (Stereo) This docking switch assigns the TOSCA output directly to stereo mixing buss. 49, TB OUT This locking switch turns the TB OUT XLR connector on and off.
ON TALK BACK < 55. +4(Line Pad) “This locking switch inserts a 64.dB pad after the XLR talk back input. The pad decreases the sensitivity of that input from nominal —50 dBu (for a microphone) to +4 dBu (for a line level input). 56. BACKTALK Pressing this yellow illuminated switch part-way down causes momentary contact; pressing further socks it down.
COMM CUE OUT €1. SOLO MODE This locking, red, Illuminated switch flashes when engaged, indicating the console monitor system is set {o the SOLO mode. {A red LED below the Phones Level control also flashes to warn of the selected SOLO mode.) The switch is recessed to prevent accidental engagement, In this mode, input channel CUE/SOLO switches mute all other channels, much like a recording console SILO function. This mode s useful during setup and send check for a live show.
o © PHONES [Come I8 (R coE} e e MUTE MASTER PHONES 7. PHONES {Lee! control) This 2-gang rotary control adjust the output level at the stereo PHONES output jack. it affects any signals which may be fed to this cutup. {LED ANNUNCIATIONS) 68. COMM IN This LED flashes green in response to almost any level signal appearing at the COMM input. (It will not respond to a low microphone elev! signal if the * + 4" COMM input pad is engaged.
2.1.6 The Meter Bridge The 24, 32 and 40 channel versions of the PM1800 each are equipped with a foal of 13 VU meters. Due to its compact size, the 16 channel! version has just 10 meters, though it still is capable of displaying the love of the same 20 circuits as the Larger console mainframes, thanks to selector switches. The Stereo L & R meters on all models are extra large, and always display the stereo output, whereas the other meters are standard size and most can be switched to multiple sources.
79. These female XL's apply signal to the correspondingly numbered input modules. The criminal input level may vary from — 60 dBu te -+ 14 dBu depending on the settings of the individual input GAIN controls and PAD switches. 80. GROUP RUBIN (1-8) These eight female XLR connectors apply signal directly to the group mixing buses (ahead of the Group Master Waders. They are used for “chaining” another mixing console’s group outputs into this console, with this console serving as the master for both consoles.
93, TOUT This male XLR connector outputs signal from the talk back circuit when the TB OUT switch [49] is on. If that switch is OFF, this output is muted. Assuming the TB OUT switch is on, this output is derived from the talk back input XLR when the TALK BACK switch {56} is engaged. Otherwise the TB OUT is derived from the console’s oscillator/noise generator.
2.3 THE PW1800 POWER SUPPLY FRONT PANEL REAR PANEL FIGURE 2-10. PW1800 POWER SUPPLY. 104, POWER (On/Of) This locking switch turns on the AC power to the supply, and thereby provides the necessary voltages to the console via the umbilical power cables. An adjacent LED is on when power is on. 105. (Grille) The power supply is cooled by a quiet running fan that pulls air through this front-panel grille and exhausts it through vents along the edge of the top and side panels.
SECTION 3 PM1800 Specifications 3.1 GENERAL SPECIFICATIONS Total Harmonic Distortion Less than 0.1%, kHz, at + 14 dBm output into 800 ohms. Frequency Response +1, —3dB, kHz, at +4 dBm output into 600 ohms.
chassis with male and female XLR connectors on the grant panel. Occupies 2 rack spaces or 88 mm} ina 19" (480 mm) wide rack; (88 mm) depth, May be used to isolate any PM1800 XLR outputs. Miniature lamps on flexible supports to mate with 4-pin XLR sockets in console; 2 sockets for 16 CH, 3 sockets for sockets for 40 CH console. Dust cover Power Requirements Requires Yamaha PW1800 power supply; see specifications for that unit.
3.2 POWER SUPPLY (PW1800} SPECIFICATIONS Dimensions HEIGHT (132 mm} (excluding rubber feet; add 7/18” (10.5 mm) for feet), DEPTH Overall, 16-7/8 inches (429.2 mummy; Behind panel, 151/2 inches (394 mm). WIDTH {480 mm); for standard rack mounting. Net Weight 38.3 pounds (16 kg}. Fuse Primary fuse 7 amp, slew-blow. AC Requirements modes: 105 to 130 V, 50/60 Hz. General Export modes: 220 or 240 V, =t 10%, 50/60 Hz.
3.5 PERFORMANCE GRAPHS Ton s s o 10n ” ox aoK e FIGURE 3-3. HIGH AND LOW FREQUENCY BAND EQUALIZER CHARACTERISTICS (SHELVING) ® ® 160 £8K snot 2ty 2 100 * iox M ten FIGURE 3-4. HI-MID (A} AND LO-MID (B) BAND EQUALIZER CHARACTERISTICS (PEAKING) o = 100 " o took FIGURE 3-5.
3.5.1.Input Channel 1. To Group Output 1 Performance Graphs With Input Gain Control @ Max s FREQUENCY. FIGURE 3.6, FREQUENCY RESPONSE AT +4 DBU & + 14 DBU OUTPUT LEVELS, PAD AT 0 0B, (CURVES WOLD BE. IDENTICAL WITH PAD PAD ATOP {B) FAD AT 2008 {0} PAD AT 4008 Neogene BN Engine FIGURE 3-7, FREQUENCY VS, TH.D. CURVES: AL HE B8 +14-dBu output levels {A}PAD at GaB at 20:d8 (G PAD OUTPUT LEVEL it [GEL SPAT LEVEL FIGURE 3-8, OUTPUT LEVEL VE THD: AL T00HZ kHz 3.
3.5.2 Input Channel 1. To Group Output 1 Performance Graphs With Input Gain Control @ Min Dusseldorf gy, BRIT LEVEL FIGURE 3.9, FREQUENCY RESPONSE FIGURE 3-10, FREQUENCY vs. T.H.D. CURVES FIGURE 311, OUTPUT LEVEL va THD, AU Tad Bu S+ 14 dBU Output lovesick. AL HIA IBIS 14 B ol feels, PAD ALO B, 100 20Kk, PAD S 098, PEDALO dB (Curves would b identical W PAD 412065 40 08 35,3 Aux Return 4 (L) To Group Output 1 Performance Graphs St st Segueing.
SECTION 4 Installation Notes 4.1 PLANNING AN INSTALLATION Be tore installing the PM1300, it is worthwhile considering how it will be used, how it is going to be connected, and what is the best way to implement the installation, To begin with, there must be a surface upon which the console can be mounted. A desk or table top can be constructed to support the connote.
1. Connect the adapter's green wire to the screw on the two-quite outlet. 2. Plug the adapter into the outlet. 3. Plug in your three-wire AC outlet tester into the adapter. The AC outlet tester will indicate whether the screw is grounded. If the screw is not grounded, connect the adapter's green wire to some other ground point in order to maintain a safe ground for your system.
Although the white wires (neutral) and the green wires (ground) In the AC wiring are technically at the same potential (voltage), and should measure the same potential using a voltmeter, the ground prong connections at the outlets should be connected to the grounding bar that was driven Into the earth as an additional safety precaution in case something should happen to the wires running from the service entrance transformer to the building or within the equipment Itself.
men grounds so that noise is minimized. This subsection of the manual won't make anyone an expert, but it does point out a few of the principles and precautions with which everyone should be familiar. ‘Whether you read this material or not, before you start cutting shields and tilting grounds, read this warning: WARNING: in any audio system Installation, governmental and Insurance underwriters’ electrical codes must be observed.
i there is only one path to ground, there can be no ground loop. However, one must lank carefully. For example, suppose there is just one audit cable joining a console to a power amplifier... can there be a ground loop? Yest A ground connection through the AC cables and the chassis of the two units makes the second connection. This, along with the audio cable shied, constitutes a continuous “ground loop” in which noise currents can flow.
The PM1800 is fitted with only two types of audio connectors: 3-pin XL's, both male and female, and 3-circuit {shirtsleeve) 1/4” phone jacks (also known as stairs phone jacks, although their function is generally to carry an unbalanced mono signal rather than a stereo signal).
For the same reasons that mic and line level cables should be separated, 8o, too, should speaker scabies {the cables run between the power amp cutout and the speakers) be separated from mic or line lever cables. I speaker cables cross other audio cables, they should do so aright angles. I they must be run along the same path, they should not be bandied tightly. 4.4.
Balanced wiring is more expensive to implement than unbalanced wiring. it is often used, however, because it offers useful advantages, especially in portable sound systems. There is nothing inherently “better” or more “professional” about balanced wiring; the application dictates whether one system or the other is appropriate. Unbalanced wiring works best when high-quality cable is used, the cable extends over relatively short distances, and one feg of the AC power system feeds all the equipment.
4.4.4 The Pro’s and Con’s of Input Transformers As Frustrated, there are two means 1o achieving a balanced input; either with a transformer or with a differential balanced amplifier (an “electronically balanced input”). The latter approach is used in the PM1800, and was chosen for several reasons: (1} iris more “transparent” sounding than most transformer inputs, (2) it cannot be saturated by low frequency, high-level signals as can a transformer, (3} iris lighter in weight.
4.5 DIRECT BOXES The so-called “direct box” is a device one uses to overcome several of the problems that occur when connecting electric guitars and some electronic keyboards to & mixing console. By using a transformer, the direct box provides important grounding isolation to protect a guitarist from inadvertent electrical shock in the event of a failure in the guitar amplifier or other equipment’s power supply.
The filter switch, which only works when the pad switch is closed, simulates the high frequency roll off of the typical guitar amp speaker. Since clipping distortion in a guitar amp creates high frequency harmonics, the filter switch, by attenuating the high frequency response, also cuts distortion. The filter and pad, however, are optional and may be admitted if the box is to be used strictly between the guitar pickup and the console.
SECTION 5 Gain Structure and Levels 5.1 STANDARD OPERATING LEVELS There are a number of different “standard” operating levels in audio circuitry. It is often awkward to refer to a specific level +4 dBu) when one merely wishes to describe a general sensitivity range. For this reason, most audio engineers think of operating levels in three general categories: A. Nic Level or Low Level This range extends from no signal up to about —20 dBu (77.5 mV), or ~20dBm (77.
In the special case of an analog audio tape recorder, where the dynamic range often is limited by the noise floor and distortion levels of the tape oxide rather than the electronics, there is a common method used to avoid program losses due 1o clipping and noise. Many professional and consumer tape machines are equipped with a noise reduction system, also known as a commander {as designed by firms like Dolby Laboratories, Inc. and dbx, Inc.).
Remember that with a 20 dB headroom figure, & power amplifier as powerful as 500 watts will operate at an average 5 watts output power. In some systems such. as studio monitoring, where fidelity and full dynamic range are of utmost importance, and where sensitive loudspeakers are used in relatively small rooms, this low average power may be adequate. In other situations, a 20 dB headroom figure is not necessary and too costly due to the number of amplifiers unwise red.
can be delivered to the power amplifiers, taps machine inputs, etc. Consider those instances where the PM1800 outputs are connected 1o a tape machine. Many professional tape machines are subject to tape saturation at input levies above + 15 dBu. Why would one want +24 dBu outputting a concise? Well, turnstile out that analog tape has what is considered a “soft” saturation characteristic, whereby the distortion is not terribly harsh in comparison to the clipping of the typical solid state line amplifier.
SECTION 6 Optional Functions The PM1800 is factory wired 1o suit what Yamaha engineers believe to be the greatest number of applications. Yamaha recognizes, however, that there are certain functions which must be altered for certain specific applications. In designing the PM1800, a number of optional functions have been built in, and can be selected by moving jumper wires within certain modules.
6.2 INPUT CHANNEL AUX 3 THROUGH 6 SENDS: PRE OR POST FARED As shipped, the console is wired so that the AUX 3, AUX 4, AUX 5 and AUX 6 send controls in each input module derive signal ahead of the dater, equalizer and high pass fighter. If desired, individual sends can be altered, by moving an internal jumper, so they are derived after the fared, EQ and filter. Note that the factory "Pre” position supplied can be altered to be post EQ & filter, but still pre fared, as described in Section 6.3. FIGURE 6-2.
6.3 INPUT CHANNEL AUX SEND PRE POSITION: PRE FARED & EQ OR PRE FOURPOSTER EQ A jumper wire in each input module permits all six auxiliary sends to be altered. As shipped, the console is wired so that if front-pane PREPOSTEROUS switch on the AUX 1 or LIX 2 send is set te PRE position, the aux send is derived ahead of the fared, equalizer and high pass fighter. This is useful for stage monitor work, for example, where the channel EQ for the house may not be desired for the monitors.
6.4 GROUP-TO-MATRIX; ASSIGNED PRE OR POST GROUP MASTER FARED A jumper wire: in each master module permits the: sight group sends tithe mix matrix 1o be altered. As. shipped, the consolable is preset so that when the. PROLIX-TO-MATRIX switch is on; the matrix is fed signal after the Group Master Attributed before the GROUP Bancroft switch). The internal jumper i gate of Hesse modules can be re positioned o that the matrix is ted before the Group Master Wader.
6.5 METER POSITION: PRE: OR POST SWITCH There are eight VU melees which can he switched to monitor the:GROUP outputted: Specifically, fracas: troy wired; these meters normally monitor the Group output after the Group Master Waders and Ripoff switches. Thus, if.4 Group Output is switched off, there will be no mister deflection. In some cases, you may. viewership group feels before turning ofy the output, Internalize jumper on each group module per meets you fo do'this! (RT ANY FIGURE 6-5-A.
6.8 INSTALLATION OF OPTIONAL INPUT TRANSFORMERS The PM1800 standard input module is equipped with a balanced, differential input amplifier for the XLR connector, That preamble, along with some circuitry for the resistivity attenuation pads, is located on a Amati printed circuit board that “piggy back” mourns to the module’s main circuit board. Refer to Figure 6-6. An optional transformer balancing option may be installed by a Yamaha PM1800 dealer or a qualified electronic service technician.
6.7 HINTS ON CIRCUITRY FOR REMOTE CONTROL OF THE MUTE GROUPS The MUTE CONTROL connector on the PM1800 rear panel is provided primarily s¢ that two consoles may be linked, and just one console's MUTE MASTER switches will affect both console’s input channels. However, it is possible te create an independent collier sa that this function can be remotes from the console. One possible application would be the creation of a limited automation system.
This section is not meant to be comprehensive. Instead, it focuses on a few areas which we feel require special attention, or where a better understanding of the unction can lead to far more utility or better sound quality from the PM1800. 7.1 CONSOLE GAIN STRUCTURE In the GAIN STRUCTURE AND LEVELS section of this manual, we discuss some general considerations regarding levels and system setup.
determined by both the channel! AUX control and the channel Wader. This same procedure should now befoliowedtoreach input channel. Once this is done, the bus levels can be examined. Set the VU meter assign switches to ook at the GROUP feels and the AUX OUT levels (you can see STEREO OUT levels alt the time, with no switching). One bus at a time, monster the group mix (use the headphones and the group CUE switch), and create a rough mix of ali input channels which feed this group.
7.2 FURTHER HINTS & CONCEPTUAL NOTES 7.2.1 Understanding and Using the Mix Matrix The PM1800 Mix Matrix consists of 8 smaller mix lever controls {42] and one larger MATRIX MASTER control {43} on each of four Master Modules. These 36 controls can be thought of as a snail mixer within the larger console. In general, the matrix's used to create different output mixes from the same set of mixing buses.
i you examine the block diagram of the matrix provided in Figure 7-1, you will see that the eve! adjustments made in one channel of the matrix affect only that matrix output. They do not affect labels in any other matrix channel, nor do they affect any other console outputs.
THIS CHANNEL 15 MUTED BECAUSE SAFE SWITCH 1§ CLOSED (NGT ON). MASTER MUTE BUSES CHANNEL vz o3 MUTE ASSIGN (CHANNEL MUTE N 1 AUDIO | -— MASTER = out Ruts) SWITCHES : % lute : 4 SAFE RELAY 4 8 = THIS IS A PART OF s e Oats) EACH INPUT MODULE 6 CHANNEL MUTE ASSIGN [CHANNEL 1 AUDIO 7 outputs; MUTE ! 4, SAFE a’”" RELAY 8 = THIS 1S A TART OF (roadie EACH INPUT MODULE TO ALL INPUT MODULES TYPICAL OF INPUT CH 124, 32 0R 40 THIS CHANNEL IS NOT MUTED BECAUSE SAFE SWITCH IS OPEN FIGURE 7-2.
with the input PAN pots of the appropriate channels. The INSERT INF OUT jacks of those two group buses are then patched to a stern compressor/limiter, such as the Yamaha GC2020B, which affects only the stereo drum mix. The two groups are then mixed together into the main house mix, which is done on the remaining six groups, by engaging their Group-to-stereo switches [38], and panning one fully left and the other fully right with the Group PAN pots [37].
There are a couple of ways to communicate from the PMI800 to the intercom system. One may connect a standard 3-pin XLR cable from the console’s TB OUT connector to the intercom’s (FB {Uninterruptible Fold back) program input. This is the most simple, direct meted, and no adapter is needed.
on the IF-4 oilcan be patched tithe XOR-3 connectors on the PM1800. CAUTION: Do not connect a standard XOR-3 cable between the PM1800 and the Clear-Com {(or similar} intercom system, iris essential that the proper isolation be provided. Allure o observe this precaution may resulting damage o the console and/or the intercom system. Besides, it simply won't work right. spacier CONSOLABLE \INTERFACE ey ORS1OABELY PAGE KR TOH A3 REDIRECTION Sec 10 colonel DOMINGO CONNECTOR FIGURE 7-5.
SECTION 8 Applications 8.1 GENERAL The PM1800 is designed primarily for audio mixing in live sound reinforcement applications. lts exceptional flexibility, however, will undoubtedly appeal 10 those who need a high quality audio mixing console for other applications, including TV show and music idea production, AV audio production, and general recording.
Built-in talk back and communication {intercom link} capability make it easy for the production personnel to coordinate efforts, and the console operator doesn’t have to wear two sets of headphones. in fact, the cug output jacks make it possible to monitor the console outputs without any headphones. 8.1.4 Post Production Once a show has been photographed on video, firm or multi-image media, it's time for the crucial post production job of mixing sound effects, music, and/or dialog.
8.2.2 How o Get 4 independent Stereo Mixes of 8 Mono Mixes (with Sub masters) by Using the Ste rec Bus, the Mix Matrix and the Input “Pan 7-8” Switches. This application requires that the console’s internal jumper wiring be altered so that the Group-to-MATRIX feeds are derived per-Group Wader (see Section 6.4}, The first six Group Master Waders [40] may then be assigned to the Ste rec Master Wader [59] by engaging their Group-to-8 switches [38].
SECTION 9 Maintenance 9.1 CLEANING THE CONSOLE 8.1.1 The Console and Power Supply Exterior The console and power supply are painted with a durable finish. To avoid damage to the paint, contort knobs, switch caps and other parts, DO NOT USE SOLVENTS, Instead, keep the console as fees of dust as practical. Cover it when not in use, and brush or vacuum it periodically. The surface may be cleaned with a fest rag moistened with a dilute solution of non-abrasive detergent and water.
MODULE REMOVAL AND REPLACEMENT {SEE OPTIONAL FUNCTIONS, SECTION 8.1) 9.2 METER LAMP REPLACEMENT bridge. The bridge is hinged on the rear panel, and can be swung open tor access to the meters(3). Each replacement lamp (Yamaha part number 75870} comes with a connector affixed to pigtail ideas from the jam . Withdraw the old lamp from the rear, pulling Two tamps illuminate the face of each VU meter. it out of its retaining grommet in the meter face, and To change a meter lamp, first open the meter bridge.
9.3 WHERE TO CHECK IF THERE IS NO OUTPUT In general, when something appears not to be working properly in a sound stern, it is necessary to have a clear understanding of the system block diagram. One should look for a “good” signal by patching around suspect equipment, modules or circuits. Suspected “bad” cables can be replaced or swapped to see if the problem follows the cable.
9.4 WHAT TO DO IN CASE OF TROUBLE The PM 1800 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 PM1800 dealer. For the name of the nearest dealer, contact one of the Yamaha offices listed low. YAMAHA CORPORATION 10-1 Arawakan-Cho Box 1 Amaterasu, 436 Japan Yamaha Europa G.m.b.H. 2084 Repelling b, Hamburg, Siemens. 22/34 West Germany Yamaha Muslim France S.A.