MIXING CONSOLES -24/-32/-40C/-48C/-56C
When discerning sound-reinforcement professionals think “console” they also think “Yamaha.” And with good reason. Yamaha soundreinforcement consoles have, for many years, been standards by which others are judged. Yamaha’s new M2500 consoles up the ante once more, defining new levels of performance, control, versatility, and reliability for an industry that never stands still.
Photo: M2500-56C 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.
STEREO INPUTS MONO INPUTS INPUT CHANNELS ■ Inputs ■ 14 Aux Sends The mono input channels feature balanced XLR-type microphone/line inputs. +48V Phantom power is independently switchable for all mono inputs, providing direct compatibility with high-performance phantompowered condenser microphones and DI boxes. Stereo line sources can be directly connected to any of the 4 stereo input channels (a total of eight inputs).
MASTER CONTROLS
■ Master Auxiliary Sends ■ Sub Inputs Master auxiliary sends 1 through 6 feature full-length 100-millimeter faders with ON and AFL switches, and theses directly feed the corresponding AUX outputs. Master auxiliary sends 7 through 14 are normally rotary controls with ON and AFL switches, feeding the corresponding AUX outputs, but these can be flipped with the 100-millimeter faders and related controls normally assigned to the 8 group busses.
M2500-24Front Panel M2500-24 Rear Panel M2500-40C Front Panel M2500-40C Rear Panel
–60dB –50dB –40dB –30dB –20dB –10dB 0dB +10dB +20dB +30dB (–26dB) (0dB) Pad:Off, Gain:Max Pad:On, Gain:Max Pad:Off, Gain:Min Pad:On, Gain:Min INPUT 1-24 1-32 1-40 1-48 1-56 ST CH 2-4 INPUT R L/MONO R INPUT B L R INPUT A L GAIN ST CH 1 26dB PAD 80 ST CH 1A, 2-4 Gain:Max ST CH 1B Gain:Max ST CH Gain:Min HPF GAIN A GAIN B GAIN B A Ø LO f ON/EDIT ON/EDIT 4 stage EQ HI-MID g LO-MID 2 stage EQ 2 stage EQ 2 stage EQ EQ EQ MIC Clipping Level MIC INSERT I/O f
Input specifications Connection PAD 0 CH INPUT (1~n)*8 26 0 26 ST CH 1A INPUT [L, R] ST CH 1B INPUT [L, R] ST CH INPUT [L, R] (2~4) Gain Trim Actual Load Impedance −60 50–600 Ω Mics & 600 Ω Lines 3 kΩ −16 −30 +10 −20 +10 −30 +10 TALKBACK IN MATRIX SUB IN [L, R] 5 kΩ 600 Ω Lines 10 kΩ 600 Ω Lines 5 kΩ 600 Ω Lines 10 kΩ 50–600 Ω Mics 10 kΩ STREO [L, R], MONO/C SUB IN 600 Ω Lines Sensitivity *9 Nominal Connector In Mixer Max before Clip −80 dB (0.078 mV) −60 dB (0.775 mV) −54 dB (1.
General specifications Total Harmonic Distortion (Master output) Less than 0.1% (THD + N) 20 Hz–20 kHz @ +14 dB 600 Ω Frequency Response (Master Output) 0 + 1, –3 dB 20 Hz–20 kHz @ +4 dB 600 Ω (Input Gain control at Minimum) Hum & Noise *1 −128 dB −99 dB −64 dB (68 dB S/N) −80 dB (84 dB S/N) −81 dB (85 dB S/N) −75 dB (79 dB S/N) −90 dB (94 dB S/N) Crosstalk −70 dB −70 dB −50 dB Rs = 150 Ω (20 Hz–20 kHz) Input sensitivity=-60 dB Equivalent Input Noise. Residual Output Noise.
