Yamaha PM1800 Manual de usuario

Otros manuales para PM1800

2

Tabla de contenidos

Otros manuales de Equipo de grabación de Yamaha

Yamaha

Yamaha SPX900 Manual de usuario

Yamaha

Yamaha CRW4416S - CRW - CD-RW Drive Manual de usuario

Yamaha

Yamaha Steinberg MR816SCX Manual de usuario

Yamaha

Yamaha YBA-11 Manual de usuario

Yamaha

Yamaha E1005 Manual de usuario

Yamaha

Yamaha RSio64-D Manual de usuario

Yamaha

Yamaha TX-7 Manual de usuario

Yamaha

Yamaha FX770 Manual de usuario

Yamaha

Yamaha QY100 Data Filer Manual de usuario

Yamaha

Yamaha MW8cx Manual de usuario

Yamaha

Yamaha CDR-HD1500 Manual de usuario

Yamaha

Yamaha TG77 Manual de usuario

Yamaha

Yamaha CRW4416SX Series Manual de usuario

Yamaha

Yamaha DEQ5E Manual de usuario

Yamaha

Yamaha PLG150-AN Instrucciones de operación

Yamaha

Yamaha CRW2100FXZ Manual de usuario

Yamaha

Yamaha EMT-10 Manual de usuario

Yamaha

Yamaha POCKETRAK 2G - 2 GB Digital Player Manual de usuario

Yamaha

Yamaha ACU16-C Manual de usuario

Yamaha

Yamaha Audiogram 3 Manual de usuario

Yamaha

Yamaha REV100 Manual de usuario

Yamaha

Yamaha MOTIF RACK ES Manual de usuario

Yamaha

Yamaha CS1D Manual de usuario

Yamaha

Yamaha D1500 Manual de usuario

Manuales populares de Equipo de grabación de otras marcas

KV2 Audio

KV2 Audio 500 Series Manual de usuario

Robotics Technologies

Robotics Technologies microBus-Cam II Manual de usuario

Seca

Seca 460 Manual de usuario

Cognex

Cognex MVS-8000 Series Manual de usuario

Mect

Mect MPNC006 Series Manual de usuario

Bad Caf

Bad Caf THE LEASH Manual de usuario

Strymon

Strymon NIGHTSKY Manual de usuario

Mitsubishi Electric

Mitsubishi Electric 16CH DIGITAL RECORDER DX-TL5000U Manual de usuario

Tews Technologies

Tews Technologies TPMC465 Manual de usuario

Honeywell

Honeywell Excel 50 Manual de usuario

SeaLevel

SeaLevel COMM+8.LPCI Manual de usuario

Arturia

Arturia AUDIOFUSE STUDIO Manual de usuario

Rukra

Rukra RK-1240 Manual de usuario

Samson

Samson SCOM Manual de usuario

Dynacord

Dynacord DPS260 Manual de usuario

Nice

Nice Core Manual de usuario

Pyle Pro

Pyle Pro PSS8 Manual de usuario

RF-System

RF-System TinyGate Manual de uso y cuidado

PROFESSIONAL

AUDIO

MIXING

CONSOLE

PM

1800

OPERATING

MANUAL

YAMAHA

How

to

use

this

manual

If

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

pre-

sented

in

the

"BRIEF

OPERATING

INSTRUCTIONS"

section.

Check

this

and

the

"SPECIFICATIONS"

sec-

tion,

and

you

will

see

most

of

what

you

need

to

know.

The

balance

of

this

manual

provides

background

in-

formation

for

better

utilization

of

the

console

and

aux-

iliary

equipment.

if

you

would

like

to

know

more

about

AC

power

dis-

tribution

and

safety,

grounding,

balanced

versus

un-

balanced

cables,

direct

boxes,

and

so

forth,

this

infor-

mation

is

also

presented.

Check

the

TABLE

OF

CON-

TENTS.

|

There

аге

internal

jumpers

within

the

console

which

can

be

configured

to

change

the

functions

and/or

signal

paths

in

certain

circuits.

Refer

to

the

OPTIONAL

FUNCTIONS

section

for

details.

TERMINOLOGY

AND

TYPOGRAPHIC

CONVENTIONS

Generally,

where

we

refer

to

a

particular

control

or

function

as

it

is

actually

labeled

on

the

console,

we

will

use

all

upper

case

type.

That

is,

if

we

refer

to

an

input

channel's

gain

control,

we

may

print

“the

input

GAIN

control.”

On

the

other

hand,

if

the

feature

is

not

labeled,

we

will

use

upper

case

type

only

on

the

first

letter;

for

example,

“observe

there

is

no

identification

of

the

input

Fader.”

If

the

front

panel

label

is

incomplete

or

am-

biguous,

we

may

augment

it.

For

example,

the

input

channel

assign

switches

labeled

“1,

2,

3, 4,

5,

6,

7,

8”

may

be

accompanied

by

the

parenthetic

reference

“(group

bus

assign)”.

There

are

eight

groups

(or

subgroups,

depending

on

your

linguistic

preference).

The

group

faders

are

known

as

“Group

Master

Faders”.

Their

function

is

to

control

the

level

on

the

eight

“Group

Mixing

Busses.”

The

eight

group

busses

are

different

and

distinct

from

the

six

“Auxiliary

Mixing

Busses.”

The

Stereo

Fader

has

a

single

control

that

simultaneously

adjusts

the

left

and

right

stereo

bus

output

level,

so

it

is

a

single

fader

(it

does

have

an

adjacent

balance

control

for

altering

the

relative

output

level

on

the

left

and

right

sides

of

the

stereo

bus).

We

have

used

the

terms

"XLR"

and

"XLR-type"

throughout

this

manual.

The

connectors

actually

used

in

this

console

are

XLBs,

which

are

compatible

with

and

equivalent

to

the

XLRs.

Particularly

important

information

is

distinguished

in

this

manual

by

the

following

notations:

NOTE:

A

NOTE

provides

key

information

to

make

proce-

dures

or

functions

clearer

or

easier.

CAUTION:

A

CAUTION

indicates

special

procedures

or

guide-

lines

that

must

be

observed

to

avoid

damage

to

the

console

or

related

equipment,

or

to

avoid

an

undesir-

able

result

while

using

the

console.

WARNING:

A

WARNING

indicates

special

procedures

or

guidelines

that

must

be

observed

to

avoid

injury

to

the

operator

or

others

using

or

exposed

to

the

console

or

related

equipment.

In

the

BRIEF

OPERATING

INSTRUCTIONS

section

of

this

manual,

each

feature

is

provided

with

a

numer-

ical

reference.

Elsewhere,

if

we

are

referring

to

that

feature,

we

may

cite

the

reference

number

in

square

brackets

for

clarity.

For

example,

on

the

input

module,

thefourth

control

to

be

described

is

the

PAN

pot.

In

other

places

on

the

console

there

are

other

PAN

pots.

For

clarity,

then,

if

we

are

discussing

this

particular

input

PAN

pot,

we

will

describe

it

like

this:

"the

PAN

pot

[6]".

WARNING:

TO

PREVENT

FIRE

OR

SHOCK

HAZARD,

DO

NOT

EXPOSE

THIS

АЕРНАНСЕ

TO

RAIN

OR

МОІ5-

Table

of

contents

PAGE

SECTION

TOPIC

A

A

HOW

TO

USE

THIS

MANUAL

A

A

TERMINOLOGY

AND

TYPOGRAPHIC

CONVENTIONS

1-1

1

INTRODUCTION

2-1

2

BRIEF

OPERATING

INSTRUCTIONS

2-1

2.1

PM1800

FRONT

PANEL

FEATURES

2-2

2.1.1

Input

Module

2-6

21.2

Group

1

-

4

Modules

2-10

2.1.3

Group

5

-

8

Modules

2-12

2.1.4

Stereo

Module

2-15

2.1.5

COMM

Module

2-18

2.1.6

The

Meter

Bridge

2-20

2.2

PM1800

REAR

PANEL

FEATURES

2-23

2.3

PW1800

POWER

SUPPLY

3-1

3

PM1800

SPECIFICATIONS

3-1

3.1

GENERAL

SPECIFICATIONS

(PM1800)

3-4

3.2

POWER

SUPPLY

SPECIFICATIONS

(PW1800)

3-5

3.3

INPUT

CHARACTERISTICS

3-5

3.4

OUTPUT

CHARACTERISTICS

3-6

3.5

PERFORMANCE

GRAPHS

3-10

3.6

BLOCK

DIAGRAM

AND

GAIN

STRUCTURE

DIAGRAMS

4-1

4

INSTALLATION

NOTES

4-1

41

PLANNING

AN

INSTALLATION

4-1

4.2

POWER

MAINS

4-1

4.2.1

Verify

The

Correct

Mains

Voltage

4-1

4.2.2

Ensure

There

Is

A

Good

Earth

Ground

4-1

4.2.3

How

То

Obtain

А

Safety

Ground

When

Using

А

2-Wire

Outlet

4-2

4.2.4

Improperly

Wired

AC

Outlets:

Lifted

Grounds

42

4.2.5

Improperly

Wired

AC

Outlets:

Lifted

Neutral

4-3

4.2.6

AC

Safety

Tips

43

4.3

THEORY

ОР

GROUNDING

4-4

4.3.1

What

is

A

Ground

Loop,

When

Is

It

Bad,

And

What

to

Do

About

it

4-5

4.3.2

Balanced

Lines,

Unbalanced

Lines,

And

Ground

Lift

Switches

4-5

4.4

AUDIO

CONNECTORS

AND

CABLES

4-6

4.4.1

Types

Of

Cable

To

Use

4-6

4.4.2

Cable

Layout

4-7

4.4.3

Balanced

Versus

Unbalanced

Wiring

4-9

4.4.4

The

Pro's

And

Con's

Of

Input

Transformers

4-9

4.4.5

Noise

And

Losses

In

Low

And

High

Impedance

Lines

4-10

4.5

DIRECT

BOXES

4-10

4.5.1

Passive

Guitar

Direct

Box

4-11

4.5.2

Active

Guitar

Direct

Box

5-1

5

GAIN

STRUCTURE

AND

LEVELS

5-1

5.1

STANDARD

OPERATING

LEVELS

5-1

5.2

DYNAMIC

RANGE

AND

HEADROOM

5-1

5.2.1

What

Is

Dynamic

Range?

5-1

5.2.2

The

Relationship

Between

Sound

Levels

And

Signal

Levels

5-2

5.2.3

A

Discussion

Of

Headroom

5-2

5.24

What

Happens

When

The

Program

Source

Has

Wider

Dynamics

Than

The

Equipment?

5-3

5.2.5

A

General

Approach

To

Setting

Levels

In

A

Sound

System

5-3

5.2.6

How

То

Select

А

Headroom

Value

And

Adjust

Levels

Accordingly

5-4

5.3

GAIN

OVERLAP

AND

HEADROOM

TOPIC

OPTIONAL

FUNCTIONS

REMOVING

AND

INSTALLING

A

MODULE

INPUT

CHANNEL

AUX

3

THROUGH

6

SENDS:

PRE

OR

POST

FADER

INPUT

CHANNEL

AUX

SEND

PRE

POSITION:

PRE

FADER

&

EQ

OR

PRE

FADER/POST

EQ

GROUP-TO-MATRIX:

ASSIGNED

PRE-

OR

POST-

GROUP

MASTER

FADER

METER

FUNCTION

IN

“GROUP”

POSITION:

PRE-

OR

POST-

GROUP

ON/OFF

SWITCH

INSTALLATION

OF

OPTIONAL

INPUT

TRANSFORMERS

HINTS

ON

CIRCUITRY

FOR

REMOTE

CONTROL

OF

THE

MUTE

GROUPS

OPERATING

HINTS

AND

NOTES

CONSOLE

GAIN

STRUCTURE

What

is

the

Proper

Gain

Structure?

What

Affects

Gain

Structure?

Establishing

the

Correct

Input

Channel

Settings

Establishing

the

Correct

Group

Master

Settings

Establishing

the

Correct

Aux

Send

Master

Settings

Establishing

the

Correct

Mix

Matrix

Settings

Establishing

the

Correct

Aux

Return

Settings

Channel

Muting

and

Gain

Structure

FURTHER

HINTS

&

CONCEPTUAL

NOTES

Understanding

and

Using

the

Mix

Matrix

Understanding

and

Use

of

the

Master

Mute

Function

Stereo

Panning

to

the

Eight

Group

Mixing

Busses

INTERFACE

WITH

POPULAR

INTERCOM

SYSTEMS

RTS

Intercom

Systems

CLEAR-COM

Intercom

Systems

APPLICATIONS

GENERAL

Sound

Reinforcement

Theater

Production

Post

Production

Video

SETUP

CONCEPTS

|

Deriving

a

Stereo

Міх

From

Groups

1-8

How

to

Get

4

Independent

Stereo

Mixes

or

8

Mono

Mixes

(With

Submasters)

by

Using

the

Stereo

Bus,

The

Mix

Matrix

and

The

Input

“Pan

7-8”

Switches

MAINTENANCE

CLEANING

THE

CONSOLE

The

Console

and

Power

Supply

Exterior

Power

Supply

Air

Filter

Pots

and

Faders

The

Console

Interior

METER

LAMP

REPLACEMENT

WHERE

TO

CHECK

IF

THERE

IS

NO

OUTPUT

WHAT

TO

DO

IN

CASE

OF

TROUBLE

List

of

illustrations

PAGE#

FIG#

2-1

2-1.

2-6

2-2.

2-10

2-3.

2-12

2-4.

2-15

2-5.

2-19

2-6.

2-19

2-7.

2-20

2-48.

2-22

2-9.

2-23

2-10.

2-23

2-11.

3-3

3-1.

3-4

3-2.

3-6

3-3.

3-6

3-4.

3-6

3-5.

3.5.1

3-7

3-6.

3-7

3-7.

3-7

3-8.

3.5.2

3-8

3-9.

3-8

3-10.

3-8

3-11.

3.5.3

3-8

3-12.

3-8

3-13.

3-8

3-14.

3.5.4

3-9

3-15.

3-9

3-16.

3-9

3-17.

3-9

3-18

3-9

3-19

3-9

3-20.

3-10

3-21.

3-12

3-22.

4-2

4-1.

`

4-2

4-2.

4-3

4-3.

4-4

4-4.

4-5

4-5.

4-6

4-6,

4-7

4-7.

4-8

4-8.

4-10

4-9.

4-11

4-10.

TITLE

(&

SECTION,

WHERE

NECESSARY

ТО

DISTINGUISH

ONE

DRAWING

FROM

ANOTHER)

PM1800

INPUT

MODULE

PM1800

GROUP

1

-

4

MODULES

PM1800

GROUP

5

-

8

MODULES

PM1800

STEREO

MODULE

PM1800

COMM

MODULE

РМ1800-16

METER

BRIDGE

PM1800-24

METER

BRIDGE

PM1800

REAR

PANEL

MUTE

CONNECTOR

PIN

ASSIGNMENTS

PW1800

POWER

SUPPLY

PW1800

UMBILICAL

CONNECTOR

PIN

ASSIGNMENTS

PM1800

DIMENSIONS

PW1800

DIMENSIONS

HIGH

AND

LOW

FREQUENCY

BAND

EQUALIZER

CHARACTERISTICS

(SHELVING)

HI-MID

(A)

AND

LO-MID

(B)

BAND

EQUALIZER

CHARACTERISTICS

(PEAKING)

HIGH

PASS

FILTER

CHARACTERISTICS

Input

Channel

1

to

Group

Output

1

With

Input

Gain

control

@

MAX)

FREQUENCY

RESPONSE

FREQUENCY

vs.

T.H.D.

OUTPUT

LEVEL

vs

T.H.D.

A)

PAD

at

0dB

B)

PAD

at

20dB

C)

PAD

at

40

dB

Input

Channel

1

to

Group

Output

1

With

Input

Gain

Control

@

MIN)

FREQUENCY

RESPONSE

FREQUENCY

vs.

T.H.D.

OUTPUT

LEVEL

vs

T.H.D.

Aux

Return

4

(L)

to

Group

Output

1)

FREQUENCY

RESPONSE

OUTPUT

LEVEL

vs

T.H.D.

FREQUENCY

vs.

T.H.D.

Channel

1

Input

to

Phones

Output,

With

Input

Pad

@

40

dB,

Gain

@

MIN.)

FREQUENCY

RESPONSE

OUTPUT

LEVEL

vs

T.H.D.

FREQUENCY

vs.

T.H.D.

CROSSTALK

OF

GROUP

1

INTO

3

OR

3

INTO

1

WITH

INPUT

PAN

CONTROL

AT

FULL

CW

&

FULL

CCW

POSITIONS

CROSSTALK

OF

STEREO

L

INTO

R

OR

R

INTO

L

WITH

INPUT

PAN

CONTROL

AT

FULL

CW

&

FULL

CCW

POSITIONS

CROSSTALK

OF

GROUP

BUS

1

INTO

GROUP

BUSSES

2

THROUGH

8

PM1800

SIGNAL

FLOW

(BLOCK

DIAGRAM)

PM1800

GAIN

STRUCTURE

TESTING

A

2-WIRE

AC

OUTLET

SCHEMATIC

OF

AN

OUTLET

WITH

A

LIFTED

NEUTRAL

TESTING

A

3-WIRE

AC

OUTLET

TYPICAL

GROUND

LOOPS

IN

SOUND

SYSTEMS

AVOID

USE

OF

AC

POWER

CORD

GROUND

ADAPTOR

TO

"BREAK

GROUND"

CONNECTOR

WIRING

FOR

PM1800

A)

XLR-3

input

or

output

B)

T/R/S

phone

plug

input

or

output

CABLES

FOR

UNBALANCED

AND

BALANCED

LINES

NOISE

REJECTION

IN

A

BALANCED

LINE

PASSIVE

DIRECT

BOX

SCHEMATIC

DIAGRAM

ACTIVE

DIRECT

BOX

SCHEMATIC

DIAGRAM

TITLE

(&

SECTION,

WHERE

NECESSARY

TO

DISTINGUISH

ONE

DRAWING

FROM

ANOTHER)

DYNAMIC

RANGE

AND

HEADROOM

IN

SOUND

SYSTEMS

HEADROOM

IN

DIFFERENT

APPLICATIONS

REMOVAL

OF

MODULE

FROM

PM1800

INTERNAL

JUMPER

WIRING

FOR

PRE

OR

POST

FADER

(&

EQ)

SENDS

ON

AUX

3

THROUGH

AUX

6

|

INTERNAL

JUMPER

WIRING

FOR

PRE-EQ

АМО

POST-EQ

AUX

SENDS

(WHEN

AUX

1

OR

AUX

2

PRE/OFF/POST

SWITCH

IS

SET

TO

“PRE,”

OR

AUX

3

THROUGH

6

JUMPERS

ARE

IN

FACTORY-WIRED

“PRE”

POSITION).

INTERNAL

JUMPER

WIRING

FOR

PRE-

AND

POST-

GROUP

MASTER

FADER

FEEDS

TO

MIX

MATRIX

INTERNAL

JUMPER

WIRING

FOR

GROUP

METERING

BEFORE

AND

AFTER

THE

GROUP

ON/OFF

SWITCH

OPTIONAL

INPUT

TRANSFORMER

INSTALLATION

BLOCK

DIAGRAM

OF

PM1800

MIX

MATRIX

BLOCK

DIAGRAM

OF

PM1800

MASTER

MUTE

SYSTEM

INTERFACE

OF

RTS

INTERCOM

TO

PM1800

“COMM

IN”

INTERFACE

OF

PM1800

“TB

OUT”

TO

RTS

INTERCOM

“AUDIO

COUPLING”

INPUT

A)

For

Larger,

PS-30

or

PS-31

Power

Supply

B)

For

Smaller,

PS-8

Power

Supply

ADAPTOR

CABLE

FOR

SPLITTING

XLR-4

INPUT/OUTPUT

CONNECTOR

ON

CLEAR-COM

IF4-4

INTERCOM

INTERFACE

SYSTEM

DIAGRAM

WITH

GROUPS

1-8

AS

SUBMASTERS,

AND

MAIN

FEED

FROM

STEREO

MASTER

SYSTEM

DIAGRAM

FOR

4

INDEPENDENT

STEREO

OUTPUT

MIXES

VIA

THE

STEREO

BUS,

MIX

MATRIX

AND

GROUP

#7

AND

#8

OUTPUTS

REPLACEMENT

OF

VU

METER

LAMPS

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

16,

24, 32,

or

40

input

channels.

There

are

eight

group

mixing

busses

to

which

any

of

the

input

channels

can

be

assigned.

There

are

also

six

auxiliary

mixing

busses

to

which

each

input

channel

may

be

assigned

by

means

of

PRE/OFF/POST

switches

(Aux

1

&

2)

or

jumpers

(Aux

3-6)

and

Send

Level

controls.

These

six

busses

may

therefore

be

used

to

augment

the

eight

groups

for

a

total

of

14

audio

mixing

busses,

or

they

may

be

used

for

a

combination

of

foldback

send

(stage

monitor),

effects

send

and

re-

mote

mixes.

In

addition

to

the

aux

and

group

busses,

there

is

a

discrete

stereo

bus

to

which

signal

can

be

assigned

from

any

of

the

Group

Masters.

Thus,

the

console

can

function

in

a

sub-

grouped

mode

with

a

stereo

“grand

master”

fader.

The

PM1800

inputs

are

differentially

balanced,

and

are

equipped

with

a

three-position

attenuation

PAD

plus

a

continuously

variable

GAIN

trim

control

so

that

literally

any

mic

or

line

level

signal

can

be

accommo-

dated

with

channel

faders

set

at

nominal

level.

Optional

input

transformers

may

be

installed

internally

on

а

channel-by-

channel

basis

when

extra

grounding

iso-

lation

is

required.

While

the

console

has

ample

head-

room

throughout,

it

is

always

possible

to

incorrectly

set

controls.

For

this

reason,

the

PM1800

is

equipped

with

level

detection

at

several

stages.

“CLIP”

LEDs

are

provided

at

the

input

preamp.

Given

that

the

signal

is

correct

there,

overboost

in

the

EQ

could

still

lead

to

clipping,

so

another

LED,

“EQ

CLIP,”

is

included

after

the

EQ

section.

Finally,

if

the

mixed

level

on

the

stereo

bus

adds

up

to

be

too

high,

a

“PEAK”

LED

in

the

output

meters

will

flash

on

to

warn

of

the

impending

danger

of

clipping.

Naturally,

the

PM1800

is

equipped

with

a

Mix

Matrix,

the

feature

Yamaha

pioneered

in

professional

audio

consoles.

The

PM1800

Mix

Matrix

is

an

8x4

configura-

tion.

That

is,

there

are

8

possible

sources

that

can

be

mixed

together

into

one

output.

Those

8

sources

can

be

mixed

together

four

different

ways

on

four

different

modules.

Each

matrix

channel

accepts

signals

from

the

eight

subgroups

(pre

or

post

master

fader,

depending

oninternal

jumpers).

These

8

sources

all

go

through

а

MATRIX

MASTER

control

and

an

ON/OFF

switch

to

a

discrete

rear

panel

output.

The

matrix

can

save

a

tremendous

amount

of

time

and

effort

when

you

want

to

set

up

stage

monitor

mixes

from

the

subgroups,

when

you

want

to

create

different

speaker

mixes

for

different

zones

of

the

house,

to

feed

local

and

remote

programs

simultaneously,

to

make

mono

and

stereo

mixes

from

the

same

subgroups,

and

so

on.

The

PM1800

has

a

MASTER

MUTE

function

just

like

that

introduced

with

the

PM3000.

Each

input

channel

has

eight

MUTE

assign

switches.

These

permit

the

channel's

ON/OFF

function

to

be

remotely

controlled

by

the

eight

MASTER

MUTE

switches.

Once

a

channel

is

switched

on

locally,

it

can

be

muted

(turned

off)

or

unmuted

(turned

on)

if it

is

assigned

to

one

or

more

of

the

mute

groups.

This

permits

multiple

channels

to

be

silenced

or

activated

all

at

once,

which

expedites

live

1-1

sound

mixing,

band

personnel

or

instrument

changes,

theatrical

scene

changes,

and

so

forth.

If,

however,

it

is

imperative

that

a

certain

channel

never

be

inad-

vertently

muted,

or

that

muting

temporarily

be

over-

ridden,

the

input

channel’s

MUTE

SAFE

switch

can

be

engaged.

Muting

can

also

be

controlled

remotely,

via

a

rear

panel

connector

so

automation

is

possible.

The

PM1800

is

equipped

with four

AUXiliary

RETURN

channels.

Each

of

these

is

a

stereo

return,

and

can

apply

a

stereo

signal

to

any

of

the

group

mixing

busses,

with

a

BAL/PAN

control

for

relative

left/right

level

ad-

justments.

Switches

also

allow

aux

return

assignment

to

any

of

the

six

auxiliary

send

busses

(for

“looping”

of

one

effect

to

the

next,

or

for

adding

effects

to

an

aux

bus

which

is

used

for

other

than

effects

purposes).

A

switch

in

each

return

also

permits

it

to

accept

a

mono

signal

and

to

apply

that

signal

to

any

of

the

busses;

in

this

case,

the

BAL/PAN

control

becomes

a

PAN

control

for

odd/even

or

L/R

bus

assignment.

Of

course,

if

panning

is

not

desired,

the

pot

may

be

bypassed.

The

returns

also

include

CUE

and

ON/OFF

functions.

In

fact,

they

may

be

used

as

mono

or

stereo

line

inputs

to

the

console

if

not

needed

for

effects

returns.

An

excellent

feature

of

the

PM1800

is

its

extensive

cue

and

solo

capability.

There

is

a

CUE/SOLO

switch

on

every

input

channel

and

on

the

aux

returns,

anda

CUE

switch

on

every

auxiliary

send,

the

group

outputs,

the

matrix

outputs

and

the

stereo

master

output.

Cue

replaces

the

signal

in

the

headphones

and

the

stereo

cue

XLR

outputs

with

only

those

sources

whose

CUE

switches

are

engaged.

Furthermore,

there

is

input

cue

priority,

so

that

the

operator

may

normally

monitor

the

cue

signal

from

the

stereo

bus

or

the

group

busses,

and

can

instantly

check

one

or

more

channel

or

aux

return

inputs

without

having

to

first

release

the

bus

CUE

switches.

This

capability

is

great

for

troubleshooting,

previewing

a

channel

before

applying

it

to

the

mix,

or

“touching

up”

the

EQ

on

a

channel

during

a

perform-

ance.

For

use

ahead

of

a

live

show,

the

console

may

be

placed

in

solo

mode.

In

this

mode,

only

the

input

channel(s)

whose

CUE/SOLO

switch

is

engaged

will

feed

the

console’s

outputs,

and

all

other

input

channels

will

be

muted;

returns

will

not

be

muted

so

that

any

effects

applicable

to

the

input

will

be

heard.

Similarly,

if

an

aux

return

Cue/solo

switch

(labeled

CUE)

is

en-

gaged,

only

the

aux

returns

will

be

heard,

and

all

input

channels

will

be

muted

(unless

their

CUE/SOLO

switches

are

engaged).

The

SOLO

switch

and

LED

flash

to

signal

the

operator

that

the

console

is

in

solo

mode;

in

addition,

the

SOLO

annunciator

flashes

or

the

CUE

annunciator

lights

up

(depending

on

whether

the

SOLO

mode

is

selected)

whenever

any

CUE

or

CUE/SOLO

switch

is

engaged.

There

is

extensive

talkback

and

communications

capability

in

the

PM1800,

plus

a

useful

test

oscillator.

An

XLR

input

can

be

set

to

accept

any

microphone

or

line

level

input,

and

is

activated

with

the

TALKBACK

switch.

That

signal

can

be

slated

to

any

of

the

eight

group

mixing

busses,

the

six

aux

send

mixing

busses,

the

stereo

mixing

bus,

and

to

a

rear

panel

XLR

TB

output.

The

test

oscillator

can

be

set

to

100

Hz,

1

kHz

or

10

kHz,

and

its

output

level

is

adjustable.

Pink

noise

may

be

selected,

too.

The

oscillator

can

be

slated

to

the

same

busses

as

the

talkback,

and

also

has

its

own

rear

panel

output

connector

so

the

signal

can

be

routed

to

other

equipment

or

other

console

inputs

for

testing.

Accompanying

the

talkback

and

oscillator

functions

is

a

communications

input.

That

input

will

accept

any mic

or

line

level

audio

signal,

typically

from

a

professional

intercom

system,

another

console's

talkback

output,

or

a

stage

manager's

mic.

When

a

signal

is

present,

a

front

panel

COMM

IN

lightflashesto

signal

the

operator,

who

can

then

turn

on

the

communications

input

(if

de-

sired),

sothe

signal

appears

on

the

console

headphone

and

cue

outputs.

Thus,

with

COMM

IN

and

TALKBACK,

the

console

operator

can

establish

2-

way

communi-

cations

without

having

to

wear

an

intercom

headset

as

well

as

cue

headphones.

Comprehensive

metering

is

provided

with

a

total

of

10

VU

meters

on

the

16-channel

mainframe,

or

13

VU

meters

on

the

larger

mainframes

(Stereo

meters

in-

clude

peak

LEDs).

The

meters

on

all

consoles

include

switching

to

monitor

23

different

circuits.

PM1800

electronic

performance

tracks

that

of

it's

larger

brother,

the

highly

advanced

PM3000.

Its

stable

input

preamplifiers,

low

noise

integrated

circuits,

and

sophisticated

design

make

your

job

easier.

In

fact,

low

noise,

wide

headroom

throughout,

exceptionally

low

distortion,

and

quiet

controls

are

the

hallmark

of

this

top

quality

mixing

console.

The

specifications

tell

part

of

the

story...

your

ears

will

tell

you

the

most

important

part.

Physically,

the

PM1800

is

as

appealing

as

it

is

elec-

tronically.

A

special

chassis

and

the

widespread

use

of

structural

aluminum

has

enabled

us

to

significantly

reduce

the

console

weight

compared

to

older

designs

without

sacrificing

any

strength.

A

modern-looking

gray

finish

and

subtly

color

coded

controls

set

the

backdrop

for

the

PM1800's

hundreds

of

illuminated

switches

and

indicators

that

give

it

the

look

of

a

NASA

control

con-

sole.

All

illumination

(except

VU

meters

and

detachable

hooded

lamps)

is

by

means

of

light

emitting

diodes,

so

maintenance

is

greatly

reduced.

The

highly

advanced

PM1800,

with

its

many

internally

jumpered

functions,

provides

many

of

the

features

of

custom

consoles

while

retaining

all

the

value

and

reli-

ability

of

a

Yamaha

professional

console.

While

its

numerous

internal

and

front

panel

functions

may

at

first

intimidate

the

casual

console

operator,

the

PM1800

is

actually

a

very

straightforward

console

to

use.

Anyone

who

has

used

the

PM3000

will

instantly

know

how

this

board

works.

In

fact,

if

you've

ever

used

a

Yamaha

M916,

M1516A,

M1524

or

M1532

console,

you

will

im-

mediately

feel

comfortable

with

the

PM1800.

Take

a

while

to

study

the

panel,

read

the

descriptions

in

this

manual,

and

you'll

find

operating

this

console

comes

as

naturally

as

any

you've

encountered.

And

it's

far

more

flexible

than

most.

1-2

ЗЕСПОК

2

Brief

operating

instructions

0080

NOTE:

Іп

the

caption

of

each

module

illustration,

we

have

included

the

Yamaha

module

part

number

in

pa-

rentheses.

2.1

PM1800

FRONT

PANEL

FEATURES:

£

[e]

CJ

[е]

Ez]

2)

2)

E

CUE/SOLO

©

FIGURE

2-1.

PM1800

INPUT

MODULE

(!Р1800).

2.1.1

The

Input

Module

1.

12345678

(Assign)

These

locking

gray

switches

assign

the

channel

output

to

group

mixing

busses

1

through

8.

2.

ON/OFF/7-8

(Switch)

A3-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

(clock-

wise

rotation)

group

busses.

When

the

switch

is

OFF,

no

signal

flows

through

the

PAN

pot,

but

instead

can

be

as-

signed

directly

to

any

of

the

8

group

busses

from

the

channel.

When

the

switch

is

set

to

7-8

position,

the

PAN

pot

only

applies

signal

to

group

busses

7

and

8

(assuming

their

bus

assign

switches

are

engaged).

This

permits

the

group

7

and

8

busses

to

serve

as

a

convenient

stereo

pair.

At

the

same

time,

the

other

six

group

busses

can

be

assigned

directly

from

the

input

channel,

with

the

full

level

going

to

any

of

these

assigned

busses

regardless

of

PAN

pot

position.

3.

PAN

(Pot)

This

rotary

control

enables

the

channel

output

to

be

assigned

between

odd-numbered

(counterclockwise

rotation)

and

even-numbered

(clockwise

rotation)

group

busses.

A

center

detent

is

provided

for

equal

signal

assignment

to

odd/even

or

left/right

busses.

Center

position

does

apply

3

dB

less

signal

to

each

bus

than

the

level

obtained

with

full

left

or

right

assignment

so

that

the

combined

stereo

signal

adds

up

to

constant

power

at

all

PAN

pot

positions.

(EQUALIZER)

The

input

channel

equalizer

is

divided

into

four

bands,

each

with

sweepable

filter

frequencies.

The

high

and

low

bands

have

shelving

EQ

curves,

whereas

the

high-mid

and

low-mid

bands

have

peaking

curves.

The

level

(gain)

is

adjustable

over

a

range

of

15

dB

boost

and

15

dB

cut

in

each

band.

4.

HIGH

1.6

~

16

kHz

The

outer

concentric

knob

sweeps

the

EQ

Frequency

between

1,600

and

16,000

Hz.

+15

~

—15dB

The

inner

concentric

knob

adjusts

the

Gain

of

the

set

frequency

band

by

plus

or

minus

15

dB.

A

center

detent

is

provided

for

unity

gain.

5.

HIGH-MID

0.8

~

8

kHz

The

outer

concentric

knob

sweeps

the

EQ

Frequency

between

800

and

8,000

Hz.

+15

~

—15dB

The

inner

concentric

knob

adjusts

the

Gain

of

the

set

frequency

band

by

plus

ог

minus

15

dB.

A

center

detent

is

provided

for

unity

gain.

6.

LOW-MID

0.16

~

1.6

kHz

The

outer

concentric

knob

sweeps

the

EQ

Frequency

between

160

and

1,600

Hz.

+15

~

—15

dB

The

inner

concentric

knob

adjusts

the

GAIN

of

the

set

frequency

band

by

plus

or

minus

15

dB.

A

center

detent

is

provided

for

unity

gain.

7.

LOW

40

~

400

kHz

The

outer

concentric

knob

sweeps

the

EQ

Frequency

between

40

and

400

Hz.

+15

~

—15

dB

The

inner

concentric

knob

adjusts

the

GAIN

of

the

set

frequency

band

by

plus

or

minus

15

dB.

A

center

detent

is

provided

for

unity

gain.

8.

EQ

(In/Out

switch)

This

locking

switch

activates

the

channel

EQ

(switch

in)

or

bypasses

it

completely.

Bypass

allows

for

A-B

comparison,

and

absolutely

minimum

signal

degradation

when

EQ

is

not

needed.

2-2