Yamaha MV1000 Owner's manual

Yamaha MV1000 Owner's manual
YAMAHA
MIXER
MV1000
OPERATING MANUAL
MANUEL D'UTILISATION
BEDIENUNGSHANDBUCH
> ¿ao oe y
MC OP Ne e "=
0 85
[a] С
a o
i
1.
FCC INFORMATION (U.S.A.)
IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance
with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interfer-
ence with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the
users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interfer-
ence will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”,
please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
*This applies only to products distributed by YAMAHA CORPORATION OF AMERICA
IMPORTANT NOTICE FOR THE UNITED KINGDOM
y — EEE
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT: The wires in this mains lead are coloured in accordance
with the following code:
GREEN-AND YELLOW : EARTH
BLUE : NEUTRAL
BROWN .. LIVE
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in your
plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected
to the terminal in the plug which is marked by the letter E or by the safety
earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal
which is marked with the letter L or coloured RED.
CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS
B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL
APPARATUS SET OUT IN THE RADIO INTERFERENDE REGU-
LATION OF THE CANADIAN DEPARTMENT OF COMMUNICA-
TIONS.
LE PRESENT APPAREIL NUMERIQUE N'EMET PAS DE BRUITS
RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICA-
BLES AUX APPAREILS NUMERIQUES DE LA “CLASSE В”
PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE
RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COM-
MUNICATIONS DU CANADA.
* This applies only to products distributed by YAMAHA CANADA
MUSIC LTD.
——
Congratulations!
Your MV1000 is a first-class Yamaha product that will provide you years of high-
quality mixing performance if cared for and operated properly.
This product is designed for a variety of event-type applications, with features geared
towards mixing both speaking and music, and facilities for connecting video.
There are six microphone input channels, offering both balanced XLR, and phone
jack connectors.
Each microphone channel has its own high and low EQ controls, and a SPEECH/VO-
CAL switch which selects either a low-cut (rumble) filter or high quality digital echo
effects.
Also, when NOISE GATE is turned on, each microphone will be noise gated. This au-
tomatically switches off the channel when no sound is going through it.
Microphone compression is provided with adjustable threshold and ratio to even out
the levels of the microphones.
There are seven sets of stereo inputs for units such as CD players and tape decks, one
of which is a specialized “Background Music” (BGM) channel.
When BGM MUTE is turned on, just by operating one of the stereo inputs (such as
starting to play a tape), the background music (BGM channel) can automatically turn
itself off, until the tape has finished.
A SOURCE MUTE system can automatically reduce the level of any background mu-
sic (the SOURCE and BGM channels) while microphones 1 or 2 are being used
(called “ducking”, or “gain riding”), so DJ's or announcers can always be heard, no
matter what other sound is going through the system while they are speaking.
There are two video inputs (for video cameras or players) and a video output, so the
operator can switch between the video sources to make recordings while the event is
occurring. Of course, the video will include a full stereo sound mix!
With two stereo MAIN OUT's, a stereo REC OUT, a stereo MONITOR OUT, two
MONO OUT's and a headphone mix, the MV1000 has capability to provide output
and monitoring for everyone involved, from the audience and the sound engineer, to
the singers, musicians and speakers.
If this unit is going to be used by people other than yourself, please leave this manual
near the MVIO00 so that it can be referred to if necessary.
Contents
Precautions..................eersecereocrnonoeneoooe roer eee 3
Upper panel controls... HEHE 4
Lower panel controls ........................ieereecereccncenecene. 5
Connection panel .....................eeeerercerercacenocanec e 6
Simple use …...........……ccerecressereneereercccscccnssssesn vue 7
Advanced Use ...............eccerccorrrcrroconenarecareecareceneccen 11
System examples:
Wedding ceremony .................e.e.emmereconenenenne 14
Business conference ................r.ccercarvenrcenrecerrenecone 15
Specifications ................e.eeeeiieieenere recen 16
Dimensions ..............eerererreroricercccen.. inside rear cover
Block & level diagrams .................... inside rear cover
cat EE аще аа
Precautions
AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to
be exposed to high temperatures or humidity—such as
near radiators, stoves etc. Also avoid locations which
are subject to excessive dust accumulation or vibration
which could cause mechanical damage.
AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care. If you are intending to move the
unit around to different events, we would recommend
that you invest in at least a 6U (6 rack-space) road case
to house it, and any other rack mount gear you may be
using, such as power amplifiers.
DO NOT OPEN THE UNIT, OR ATTEMPT REPAIRS
OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer
all maintenance to qualified Yamaha service personnel.
Opening the unit and/or tampering with the internal cir-
cuitry will void the warranty.
MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power off, on the MV 1000 and all other
attached equipment (especially power amplifiers), prior
to connecting or disconnecting cables. This is important
to prevent damage to the unit itself as well as other con-
nected equipment, due to power surges.
H for some reason the MV 1000 cannot be turned off,
turn the input fader of the channel you are connecting
right down first, and also the MAIN OUT 1, MAIN
OUT 2, MONO OUT 1 and MONO OUT 2 faders.
HANDLE CABLES CAREFULLY
Always plug and unplug cables—including the AC
cord—by gripping the connector, not the cord.
CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
ALWAYS USE THE CORRECT POWER SOURCE
Make sure that the power source voltage specified on
the rear panel matches your local AC mains supply:
U.S. & Canadian Model: 120V AC, 60Hz
U.K. Model: 240 V AC, 50Hz
General Model: 230 V AC, 50Hz
TURN-ON PROCEDURE
Always turn the MV1000 power on before turning on
the power to the power amplifier.
For a fuller explanation, see “Turning the power on” on
page 8.
Upper panel controls
CC JC JC JC CL JN ee
MY1000
L ' R MONITOR
|=! ora Гоги?
wo H Ft
@— res] oz: B®
© IE pen
5 4 Ld
| wa | ES
|0! ts
1 — oe |
+
aie OL OFF
FOVER
D
©
Microphone input section
Microphone 1&2 input phone jacks
These jacks can be balanced (tip/ring/sleeve) or unbal-
anced. There are also balanced XLR inputs for micro-
phones 1&2 on the connection panel (see 38-a).
The front jacks have priority over the MIC 182 inputs
on the connection panel. If anything is plugged into the
front MIC 1 and/or MIC 2 inputs, the MIC 1 and/or
MIC 2 inputs on the connection panel will be ignored.
Microphone faders
Signal indicators
These light up when there is sound going through the
corresponding microphone.
Speech / vocal selectors
SPEECH sends input signals through a low-cut (rum-
ble) filter, and VOCAL sends them through the digital
effects unit to add echo or reverb.
Digital effects unit
Choose one of the four digital effects by pressing one
of the four buttons, and adjust the amount of echo or
reverb with the LEVEL knob.
Microphone compression indicator
Lights up when microphone compression is occurring.
Source mute indicator
Lights up when source muting (“ducking”) is occurring.
Source select (A,B) buttons
These select either source A or source B for each
SOURCE channel.
Source and BGM
input section
©)
®
©
©
Output
section
Source faders
BGM muting indicator
Lights up when the BGM is being muted by one of the
other sources.
BGM fader
Level meters
These show the sound level going through either main
output 1 or 2.
Meter selector
This selects whether the meter will show main output 1
or 2.
Faders for main outputs 1 & 2
Faders for mono outputs 1 & 2
Monitor selector
These buttons select what will be sent to the monitor
output and the headphones. Only one of the buttons can
be selected at a time. Attempting to press more than
one button at a time may cause damage to the unit.
Headphone jack
Power switch
|
Lower panel controls
60— [ин
(9
@
@
@
@
24
OFF MMC TON
NOISE GATE
OFF Jon
NOISE GATE WISE GATE
re = = =”
ree ll) I a
OFF ON | OFF AUTOS
COMP (SOURCE MUTE]
LA CIRE
TH RATIO y e
GIN LON HIGH T GAIN H y DIENTE
©“ ©
GAIN A GAIN BIGAIN A GAIN B T él
I E и
ST MONO MIX SOURCE | PRE POST
MAIN OUT 2 MONO OUT1
D—e
LOW HIGH
и
57 MONO
MAIN QUT 1
© D
U
Channel label card and holder
You can label each of the channels on this card, then
slide it into the holder, as shown:
№
49
S
Noise gate switch
Microphone gain adjustment
Microphone high and low EQ controls
Compressor ON/OFF
This turns on compression for all microphone channels.
Compressor threshold adjustment
This adjusts the microphone level where compression
will cut in.
Compressor ratio adjustment
This adjusts the amount of compression that will occur.
Source mute switch and adjustment
The SOURCE MUTE OFF/AUTO switch turns “duck-
ing” on and off.
The LEVEL knob adjusts the volume that the sound
will go down to when “ducking” occurs.
27
29
e9
9
© ©
Source gain adjustment
BGM mute switch
This switch turns BGM muting off, or to automatic.
BGM gain adjustment
MAIN OUT 1 stereo/mono switch
MAIN OUT 2 stereo/mono switch
MAIN OUT 2 source switch
MAIN OUT 2 can either output the same as MAIN
OUT 1 but without the master EQ controls (MIX), or it
can output only the sound from the BGM channel and
source channels (SOURCE).
MONO OUT 1 source switch
MONO OUT 1 can either output the same sound as
MAIN OUT 1 except in mono (POST), or bypass the
master faders and EQ controls (PRE).
Master high and low EQ controls
These do not affect MAIN OUT 2, the monitor outputs,
or the REC OUT (recording) outputs.
Connection panel
65
E
E)
2
e: @9:b a
AT ure - RN СОТА EXTERNAL
MONO QUT
=
© eDelär ©,0 fh
„© og Jig
09109
@ 16,6 Has enone
9 о.
MAIN OUT jacks (1 & 2)
Balanced XLR connectors.
EXTERNAL MONITOR IN jack
An external source can be connected here which can be
listened to through the monitor section.
EXTERNAL MIXER IN connector
An optional EXMV 1000 external input unit can be con-
nected here, giving an additional two microphone chan-
nels.
Microphone inputs
@-a MIC 1 and MIC 2 jacks
Balanced XLR connectors. Balanced/unbal-
anced phone jacks are also provided on the
front panel for MIC 1 and MIC 2.
The front MIC 1 and MIC 2 jacks have priority
over the MIC 182 inputs on the connection
panel. If anything is plugged into the front MIC
1 and/or MIC 2 jacks, the MIC 1 and/or MIC 2
inputs on the connection panel will be ignored.
MIC 3 and MIC 4 jacks
Balanced XLR connectors only. Switches are
provided to apply 20dB of muting to each
microphone.
MIC 5 and MIC 6 jacks
Balanced/unbalanced phone jacks only.
Switches are provided to apply 20dB of muting
to each microphone.
@
@
@
sol Г |
MONO OUT jacks (1 & 2)
Unbalanced phone jacks.
MONITOR OUT jacks (L and R)
Unbalanced phone jacks.
SUB IN section
An external mixer can be connected here using phone
jacks.
REC OUT jacks
Unbalanced RCA connectors.
BGM input jacks
Unbalanced RCA connectors.
VIDEO IN / OUT jacks
Two sets of video inputs can be connected here. Using
the SOURCE 3 A/B selector switch allows you to
select which of the two sources will be output from
VIDEO OUT.
Source input section
Sources 1, 2 and 3 can each accept two sets of inputs—
A and B. These use RCA connectors.
. Ali rat не
Simple use
In this section, you will learn the basics of how to use your MV 1000. The topics covered are:
Setting up: finding a suitable place for your MV 1000, connecting output from the MV1000,
connecting input to the MV 1000, and turning the power on.
Using the MV1000: Testing the microphone channels, setting up the effects unit, testing the
source and BGM channels, and sound mixing.
Setting up
Finding a suitable place for your MV1000
As mentioned in the Precautions section at the beginning of this manual, find a place away from
high temperature and humidity, and somewhere where the unit will be stable. The use of a rack
or road case is strongly recommended, for maximum protection. To install the rack “ears”,
attach the screws (supplied) as shown in the diagram below. It is possible to install the “ears”
facing the back of the unit as well as the front.
LA. 1/7
t«{}}:0]0
Ho)
---«0
e | i 0
9 Де” 7778 0 À
The connection panel, which is initially installed at the rear of the MV 1000, can also be moved
to the top of the unit, where the connectors can be reached more easily. This operation is
described in “Moving the connection panel” on page 10.
However, PLEASE DO NOT PERFORM THIS OPERATION YOURSELF, Please take your
MV 1000 to your local Yamaha dealer, the retailer where you bought the product, or an electrical
service technician to perform the operation.
O O 0000
| ———|o
© © oooo
Connecting the output from the MV1000
A. Main speaker systems
Connect the MAIN 1 and/or MAIN 2 outputs to one or more amplifiers.
+ The MAIN 1 and MAIN 2 outputs 35 use cannon (XLR) connectors.
* The main speaker system/amplifier is usually connected MAIN OUT 1, and other amplifi-
ers to MAIN OUT 2.
* Ifusing only a mono (1 channel) amplifier, you can connect it to the L (or R) output channel
of the MV 1000, but you must open the lower panel and set MAIN OUT 1 to MONO.
B. Extra speaker systems
Connect MONO OUT 1 or MONO OUT 2 @9 to an amplifier, and attach the extra speakers to
that amplifier.
« MONO OUT 1&2 use 1/4" phone jacks.
* The extra speakers can be used as monitors (foldback) for the performers, or put in other
rooms such as dressing rooms. The MONO OUT jacks can also be used to connect to a sub-
woofer speaker system.
Simple use
C. Monitor speakers
Connect a power amp to one or both of the MONITOR outputs 40, and the monitor speakers to
the power amp. If you are using powered monitor speakers, you can connect them directly to the
MONITOR outputs.
* The MONITOR outputs 40 use 1/4" phone jacks.
* The monitor outputs are supplied to provide a monitoring system for the sound operator.
Because both L and R outputs are provided, you can monitor in stereo.
Connecting the input to the MV1000
Turning the power on
A. Microphones/wireless mics/electronic instruments (up to 6)
e Ttis best to make these connections/disconnections while the MV 1000 is turned off. If this
is not possible, make sure the fader for the channel 1s all the way down.
* Because each pair of the inputs have different connectors, choose which input you use ac- <
cording to which connector it has.
* Normal (not wireless) microphones can be connected to any of the 6 microphone inputs 68,
and if the input has a PAD switch, switch it to “0 dB”.
(1) If the microphone has an XLR connector, use inputs 1, 2, 3 or 4 on the connection
panel.
(2) If the microphone has a phone type plug, connect it to inputs 1 or 2 on the front
panel, or inputs 5 or 6 on the connection panel. Note that you cannot use inputs 1
and 2 on the front and the connection panel at the same time.
* Wireless microphones and electronic instruments (e.g. synthesizers) can be connected to
inputs 3, 4, 5 or 6. When connecting them, switch the PAD switch next to the connector to
“20 dB”.
B. Music sources
* The SOURCE inputs 45 are intended for stereo music sources such as tapedecks, CD play-
ers, Laserdisc players, and VCRs. In fact, nearly anything that uses RCA plugs can be con-
nected.
e Tt is best to connect/disconnect these sources while the MV 1000 is turned off. If this is not
possible, make sure the source fader for the channel is all the way down.
e If there is one unit (e.g. CD player) that is used primarily for background music, connect it
to the BGM inputs. Otherwise, connect the units to the three A inputs first, then the three
B inputs.
NOTE: If you connect two sources to SOURCE 1 A and B, or SOURCE 2 A and B, or
SOURCE 3 A and B, then you won’t be able to listen to them both at the same time.
Please use the following order when turning on the MV 1000.
1) Turn the power on for any wireless mic receivers, or electronic instruments, and anything
connected to the SOURCE inputs.
2) Turn on the MV 1000.
3) Turn on the power amplifier(s).
If you must turn on or connect any of the sources or microphones while the MV1000 is turned
on, bring the fader for that channel right down first.
- M cire + Ao a
PEE EI
Simple use
Using the MV1000
Before you have to use the mixer, it is wise to test out each of the inputs in turn. This will allow
you to set all the levels correctly, and make other necessary settings.
Testing the microphone channels
1) Bring the MAIN OUT 1 fader (4) up to around “7”.
2) For each MIC channel, select whether it is for speech or vocal (includes electronic instru-
ments).
3) Getting someone to speak into or tap gently on the microphone, or play on the instrument,
bring up the corresponding MIC fader until the sound can be clearly heard.
4) IF THE MIC CHANNEL DOESN'T SEEM TO WORK PROPERLY, CHECK:
(a) Does the correct SIGNAL indicator light up when the microphone is being used?
(b) Is the MV1000 connected to an amplifier and speakers, and are these all turned on
and set up correctly? (see “Setting up”)
(c) Is the MAIN OUT fader turned up enough?
\ If it is a microphone, check:
(a) Is it plugged in?
(b) Does the microphone have a switch that needs turning on?
W If it is an electronic instrument, check:
(a) Is it connected to the MV 1000?
(b) Is the instrument turned on, and the volume turned up enough?
5) If you can hear sound from the microphone/instrument, but at very high or very low levels:
(a) Check that the microphone/instrument is connected to a suitable input, and the
PAD switch setting is correct (see “Setting up”).
(b) You may need to adjust the GAIN knob for the channel (see “Advanced use”).
Setting up the effects unit
Each microphone channel that is set to “VOCAL” is sent to the effects unit (5). The effects can
make music sound much more professional. Select which effect type you want, by pressing
either ECHO 1, ECHO 2, REVERB or HALL.
While somebody is using one of the microphones, adjust the effect LEVEL knob until there is
the right balance of voice and effect for the room you are in.
Testing the SOURCE and BGM inputs
1) Start the source playing that you wish to test.
2) Make sure the SOURCE select switch (8) above the fader is set to the same as the jacks the
source you are testing is connected to (either A or B).
Simple use
3) Bring the corresponding source fader up until the sound can be clearly heard.
4) IF THE SOURCE or BGM CHANNEL DOESN'T SEEM TO BE WORKING PROPER-
LY, CHECK:
(a) Is the MV 1000 connected to an amplifier and speakers, and are these all turned on
and set up correctly? (see “Setting up”)
(b) Is the MAIN OUT fader turned up enough?
(c) Is the SOURCE A/B selector for the source you are using set to the correct
position?
(d) Are SOURCE MUTE @0 or BGM MUTE @8 on? (Even if you want to use
SOURCE MUTE or BGM mute, they may be interfering with your testing. Push
the bottom panel open, and switch them both to OFF.)
5) If you can hear sound from the source, but at a very high or very low levels, you may need
to adjust the GAIN knob 67) for the source (See “Advanced use”).
Sound mixing with the MV1000
Moving the connection panel
10
Once the MV 1000 has been set up, basic sound mixing very easy to perform.
Each of the MIC 1 to MIC 6 faders controls the level of the corresponding microphone/instru-
ment.
If you want to listen to a CD or cassette, or anything connected to the SOURCE inputs, simply
start the component playing, and bring up its fader.
The overall volume can be controlled with the MAIN OUT faders (1 or 2, depending on which
you have the amplifier connected to).
If extra speakers have been connected to MONO OUT 1 or 2, (perhaps for another room, or for
the performers), the levels can be adjusted with the MAIN OUT 1 fader, and can be further
adjusted with the MONO OUT 1 fader and MONO OUT 2 knob.
There are other functions possible on the MV1000 too, which are covered in the section
“Advanced use”.
As explained on page 7, PLEASE DO NOT PERFORM THIS OPERATION YOURSELF.
To move the connection panel, remove the five screws from the cover plate, and the five screws
from the connection panel, swap the cover plate and the connection panel, then replace the
screws.
Ensure that no internal wires become trapped between the unit and the connection panel.
т т
ef N
Ly
“0009 Se. IDLO м N 1
558 q [clocks oo BA BRL « |
No
N Nh ©
Advanced use
Microphone functions
Gain
High and low EQ controls
Noise gate
Source muting (“ducking”)
Compression
On each of the faders on your MV1000, you will see that marker “7” has a wider line than the
other markers. Marker 7 is called the nominal level. That is, during normal use, the best sound
can be achieved if the faders are set near this level.
With the fader at nominal, if the sound through the channel is too loud or too soft during normal
use, adjust the level with the GAIN knob 21). Once this is set correctly, you can go back to using
the fader to adjust the level.
This procedure allows you to compensate for microphones or electronic instruments that have
abnormal levels.
Each microphone channel has its own high and low EQ controls 62, which will boost or cut the
high and/or low frequencies by up to 15 dB.
The NOISE GATE switch © is found below each fader, on the lower panel.
The noise gate is a function which turns off the microphone channel when there is only a small
amount of sound going through it. This is useful, for example, to cut out background noise from
microphones that are not being used.
You may find that in some situations, that having the noise gate on while the microphone is
being used for speech results in the speech sounding “clipped”—that is, the noise gate turns the
channel off then on between words. If this happens, turn the noise gate off for that channel.
The SOURCE MUTE switch @6 is found below the effects section, on the lower panel.
The source mute reduces the level of sound going through the source or BGM sections, when
microphone channels 1 or 2 are used. Whenever the source mute is activated, the source mute
indicator (7) will light up.
The exact level that the sound from the sources or BGM will drop to is governed by the
SOURCE MUTE LEVEL knob (below the SOURCE MUTE switch ©). If this is set to mini-
mum (fully counterclockwise), the sound from the sources and the BGM will be cut out com-
pletely when microphone channels 1 or 2 are used. If it is set to maximum (fully clockwise)
there will be no effect.
If source muting does not seem to be working even when the SOURCE MUTE switch is set to
AUTO, the SOURCE MUTE LEVEL may need to be turned down.
The compressor controls 03, e @ are found next to the source mute controls.
Compression is a technique used to even out sound levels, so that louder parts are softened
slightly. When used for speech, it allows the overall level to be turned up, without the risk of
louder sounds being too loud.
When compression is turned on, all microphone channels are affected.
The compression threshold knob (TH) adjusts the sound level where compression will start to
take effect.
11
Advanced use
The compression ratio knob (RATIO) adjusts the amount of compression that will take place
(see the diagram below).
output
level
TH input level
Experiment with the compression controls to find the combination that sounds best in your situ-
ation.
The SOURCE section, and BGM MUTE
Using video
The monitor section
12
Like the microphone channels, each source and BGM channel has a GAIN adjustment, to com-
pensate for sources with particularly high or low output levels.
When the BGM MUTE switch @8 is set to OFF, the BGM channel acts identically to the other
source channels.
When the BGM MUTE switch is set to AUTO, the BGM channel and the source channels
become mutually exclusive—that is, turning on any of the source channels will mute the BGM
channel. The BGM channel will remain muted for around 6 seconds after sound from the source
channels stops.
The MV 1000 provides two video inputs, and one video output 42. The video output will always
echo either what is connected to video input À or B.
To switch between video source À and video source B, use the SOURCE 3 A/B selector switch.
Of course, this will also switch which audio source is sent to source fader 3.
There are two main uses for the video section. One is in video recording, and the other in video
playback.
If two video cameras are connected to the video inputs, and a video recorder to the video output,
the sound operator can switch which camera is being recorded, with the SOURCE 3 A/B selec-
tor switch. |
If two video players are connected to the video inputs, and a monitor to the video output, then
the sound operator can select which of the two videos are watched (useful for presentations).
The monitor section is provided so that the sound operator can listen to different parts of the sys-
tem without altering the sound from the main outputs. The monitor can be listened to, through
headphones, or through an amplifier and speakers connected to the MONITOR OUT jacks 49.
It is possible to connect an external sound source to the monitor section, through the
EXTERNAL MONITOR IN jack 89. Connection possibilities include sound from another
mixer, or as a communication link with a cameraman.
Use the monitor selector buttons (6) to select what you want to listen to—either MAIN OUT 1
(main output 1), EXT IN (the external source), or SOURCE 1 or 2 (the source inputs).
Advanced use
SUB IN, and EXTERNAL MIXER IN
Using the SUB IN section 49, you can connect an external mixer to the MV 1000 to give you
even more input channels. Connect the master outputs of the external mixer to the SUB IN
MAIN L and R jacks (or the MIC IN jack), and the AUX SEND or EFFECTS SEND of the
external mixer to the SUB IN EFFECTS jack, as shown.
Г 91 | Г _|
ST OUT MAIN SUB IN AUX SEND STOUT MIC EFFECT
L— SUB IN —
SUB MIXER MV1000 SUB MIXER MV1000
Recording
The master section
The EXTERNAL MIXER IN (7) is provided to allow connection to the EXMV 1000 external
input unit using a Dsub 9-pin connector. The EXMV 1000 gives a further two microphone chan-
nels, each with a gain control, speech/vocal selector and fader.
To make a stereo recording of the output, connect a recording device to the REC OUT jacks 42.
Note that the REC OUT jacks are not affected by the main output volume, or the master EQ con-
trols, so your recording device should have a recording level control.
If you are making a video recording through the MV 1000, you can connect the REC OUT jacks
@ to the audio inputs of the video recorder.
Master high and low EQ controls 64
The master high and low EQ controls give you control over high and low frequency sound in the
main mix (MAIN 1, and MONO OUT 1&2 only). They do not affect the monitor section, or
MAIN 2. |
MAIN OUT 1&2 ST/MONO G0 and 3)
MONO OUT 1 PRE/POST 63
Both MAIN OUT 1 and MAIN OUT 2 can be made mono. If you are using stereo sound sys-
tems (discrete left and right channels), then set the appropriate switches to ST (stereo). If you are
using the left and right outputs to drive separate mono systems, set the appropriate switches to
MONO (mono). |
When this switch is set to PRE, the MAIN 1 fader and master EQ controls will not affect
MONO OUT 1.
When it is set to POST, sound will be sent out of MONO OUT 1 after going through the MAIN
1 fader, and the master EQ controls. (This always happens for MONO OUT 2).
MAIN OUT 2 MIX/SOURCE 62
When this switch is set to MIX, MAIN OUT 2 will output the same as MAIN OUT 1, except
without the master EQ controls.
When it is set to SOURCE, MAIN OUT 2 will only output sound coming from the SOURCE/
BGM section. This will be affected by BGM mute, but will not be affected by “ducking”.
13
System examples
Wedding ceremony
Foldback amp
Stage monitor speakers
Main speakers
R
AAA
Other microphones/electronic instruments
0000 Wireless microphone
| MIC receiver
MIC inputs
Lapel radio
microphone
r
MAIN OUT 1 ] Video monitor
| 9000 e 00.00.06 :
СО OOOOOG
© PY 00 Oo OSIPOOOOCEGE
MONO U MONITOR RECI eGM|vIDEO| [a] viDEO SOURCE‘
\ OUT OUT OUT OUT | IB] IN A
> C
A | 50
Video camera 1 Cassette deck
Operators powered monitor speakers
fe
Video recorder
CD player
14
An example of a system setup for a wedding ceremony is shown. Notice the following points:
The PAD switch for the radio microphone is set to 20 dB. The PAD switches for other mi-
crophones are set to 0 dB
The CD player provides the background music before, after and during certain parts of the
ceremony.
The cassette deck has a recording of a wedding march, to be played as the bride and groom
leave.
So that the background music stops automatically when the wedding march plays, switch
BGM MUTE (on the lower front panel) on.
Additional speakers (e.g. for the foyer) can be connected to MAIN OUT 2.
The sound operator can switch between the two video cameras with the SOURCE 3 A/B
switch on the front panel. The picture will be recorded with stereo sound, and can be mon-
itored through the video monitor.
\ On the front panel (not pictured):
(a) BGM mute is on.
(b) Mics are set to SPEECH if used for speech, and VOCAL if used for singing.
(c) Compression and/or noise gating can be used 1f desired.
(d) Source muting can be used if people will be speaking over the BGM.
System examples
Business conference
Main speaker L
Main speaker R
Stage monitor speaker L =<] Stage microphones
Stage monitor speaker R =]
ID
MAIN OUT 1 VIDEO OUT | | )
1 Т 1
ООО e 5 5008 DOOO |e
MONO OUT A OO Q00000
cn bo 0000 009 000000000
REC OUT ] \ VIDEO IN A
BGM VIDEO IN B
MAIN OUT 2
Power amp 2
Tape deck | Audio in Video A Video out
T T Jo Я Es
cool FE DD = CO ————————]— —
| E]
CD player | Audio out Video B Video out
EE HE Je ЕЕЕ oo =
== LL e |
"рее
Speakers for lobby/foyer — —
An example of a system setup for a business conference is shown. Notice the following points:
The PAD switches are set to 0dB when using normal (not radio) microphones.
For video presentations, the sound operator can switch between the two video players. As
the sound from the videos is also going through SOURCE 3 A and B, the sound will be
switched too.
If the presenter wishes to speak while the video is playing, source muting can be turned on,
so that the presenter will be heard more clearly.
An audio recording of the entire conference is made by the cassette deck connected to the
REC OUT jacks.
The speakers connected to MAIN OUT 2 could be positioned in the foyer, or lobby.
\ On the front panel (not pictured):
(a) All microphone channels are set to SPEECH
(b) Noise gating is recommended and compression is optional.
(c) Itis possible to stop sound from the microphones going to the second pair of speak-
ers, by switching the MAIN OUT 2 MIX/SOURCE switch to SOURCE. In this
case, the BGM will still be sent.
15
Specifications
Total harmonic distortion
Frequency response
Hum & noise”!
(Rs=150 £2 Input gain=max,
Input pad=0 dB, Input sensitivi-
ty= —80 dB (20 Hz ~ 20 kHz))
Crosstalk (@ 1 kHz)
Maximum voltage gain
Mic Input channels (CH 1-6)
Source input channels (CH 1-3)
BGM input channel
Digital effects unit
Compressor
Source mute
MAIN 1 EQ controls
16
Less than 0.1% 20 Hz~20 kHz @ MAIN OUT+14 dB into 600 Q
@ REC OUT-10dB into 47k Q
others +14 dB into 10k Q
(Master fader nominal, one channel fader nominal)
+1, —3 dB 20Hz~20kHz @ MAIN OUT+ 4 dB into 600 Q
@ REC OUT-10dB into 47k Q
others +4 dB into 10k Q
—97 dB residual output noise
—128 dB equivalent input noise
—64 dB (68 dB S/N) MAIN OUT (Master fader nominal, one channel fader nominal,
others minimum)
—80 dB (84 dB S/N) MAIN OUT (Master fader nominal, all channel faders minimum)
70 dB adjacent input channels
70 dB input to output 2
84 dB MIC IN to MAIN OUT, MIC IN to MONO OUT 1
80 dB MIC IN to MONO OUT 2, MIC IN to MONITOR OUT
44 dB SOURCE IN to MAIN OUT, SOURCE IN to MONO OUT 1
40 dB SOURCE IN to MONO OUT 2, SOURCE IN to MONITOR OUT
14 dB SUB IN to MAIN OUT
Gain control 44 dB (-60 ~ -16) continuously variable
Pad switch 0/20 dB attenuation (ch 3,4,5,6)
EQ controls +15 dB maximum boost/cut in 2 bands:
High: 10 kHz shelving
Low: 100 Hz shelving
VOCAL/SPEECH Low-cut filter (<80 Hz) off/on and effect send on/off
with LED indicators
Noise gate On/off
Gain control
A/B select
24 dB (-20 ~ +4) continuously variable
Gain control 24 dB (—20 ~ +4) continuously variable
BGM mute AUTO/OFF
When BGM MUTE is set to AUTO, the BGM will be muted whenever one of the source
input channels exceeds —50 dB. When it is set to OFF, the BGM channel acts as a fourth
SOURCE channel.
Program selector 4 set programs: Echo 1, Echo 2, Reverb, Hall
90 dB dynamic range
ON/OFF switch
Ratio
Threshold
Mute level
AUTO/OFF switch
When AUTO 15 selected, SOURCE and BGM channels are muted by MIC 1 or 2 input
signals.
+15 dB maximum boost/cut in 2 bands
High: 10 kHz shelving
Low: 100 Hz shelving
Specifications
Signal indicators
Compressor indicator
Source mute indicator
BGM mute indicator
Level meters
(MAIN OUT 1/2)
Phantom power
Power requirements
Power consumption
Dimensions
Option
Green LED within each MIC input channel.
Turns on when post-EQ, post-gain signal exceeds noise gate threshold.
Orange LED built into compressor circuit.
Turns on when compressor is activated.
Red LED built into source mute circuit.
Turns on when SOURCE signal is muted.
Red LED built into BGM mute circuit.
Turns on when BGM signal is muted.
Stereo 6 element LED meters. (—20, —10, —6, 0, +6, PEAK)
Top element turns on when the main input signal reaches 3dB below clipping.
Not supplied
USA/Canada 120V 60 Hz
UK 240V 50 Hz
General 230V 50 Hz
USA/Canada | 50W
UK,General SOW
Height/Depth/Width 179.2 / 124.3 / 480 mm
Weight 7kg
External input unit EXMV 1000 (provides further two microphone channels)
*1 Hum 4 noise are measured with a 6 dB/octave filter @12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation.
*2 “Input to output” crosstalk measured with gain trim at minimum level on source and BGM channels.
17
Specifications
Input characteristics
Input level ©
input Actual load | For use with pur eve Connector in
inal . | inal . |
terminals PAD“ | GAIN Impedance nomina Sensitivity Nominal Max. before clip console
0 | —0 50-800 Q —80 dB (0.078 mV) | -60 dB (0.775 mV) | —40 dB (7.75 mV) | XLR-3-31 type 2
MIC INPUT N or
CH1-CH6 0 e 10 kQ (os & —36 dB (12.3 mV) | —16 dB (123 mV) +4 dB (1.23 V) phone jack (TRS)
20 —16 dB (123 mV) | +4dB(1.23V) | +24 dB (12.3 V) "3
CH1~CH3 [LR RCA pin jack
~ [LR] +4 —16 dB (123 mV) +4 dB (1.23 V) +24 dB (12.3 V)
10 kQ 600 Q lines
—20 —40 dB (7.75 mV) | —20 dB (77.5 mV) | 0dB (775 mV) ‚
BGM INPUT [L,R] RCA pin jack °
+4 -16 dB (123 mV) +4 dB (1.23 V) +24 dB (12.3 V)
MAIN BUS SUB IN [L,R] —10 dB (245 mV) 0 dB (775 mV) +20 dB (7.75 V) phone jack ©
MIC BUS SUB IN —10 dB (245 mV) 0 dB (775 mV) +20 dB (7.75 V) phone jack ©
10 kQ 600 Q lines Dsub 9PIN
EFFECT BUS SUB IN —10 dB (245 mV) 0 dB (775 mV) +20 dB (7.75 V) (female) 7
EXTERNAL MONITOR IN — 6 dB (388 mV) 0 dB (775 mV) +20 dB (7.75 V) phone jack ©
VIDEO IN (SOURCE 3 A/B) 75 © 75 © — 1 Vpp — RCA pin jack >
*1 Sensitivity is the lowest level that will produce an output of +4 dB(1.23 V) or the nominal output level when the unitis set to maximum gain. (All faders and level
controls are maximum position.)
*2 XLR type connectors are balanced. (1=GND, 2=HOT, 3=COLD / CH 1, 2, 3, 4)
*3 MIC INPUT phone jacks are balanced, but can be used as unbalanced. (Tip =HOT, Ring=COLD, Sleeve=GND / CH 1, 2, 5, 6,)
*4 MIC INPUT PADs are available only in CH3, 4, 5, 6 for wireless microphones and electronic instruments.
*5 All pin jacks are unbalanced.
*6 All phone jacks except MIC INPUTS are unbalanced.
*7 Dsub 9pin connector includes mic & effect sub inputs and DC power supply.
*8 In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 volts RMS.
Output characteristics
Output level "4
; Actual source For use with pa Connecter in
Output terminals inpedance nominal console
Nominal Max. before clip
MAIN OUTPUT 1,2 (L,R) 150 Q 600 Q lines +4 dB (1.23 V) +24 dB (12.3 V) XLR-3-32 type ”
MONO OUT 1,2 600 Q 10 kQ lines +4 dB (1.23 V) +20 dB (7.75 V) phone jack '*
MONITOR OUT (L,R) 600 Q 10 kQ lines +4 dB (1.23 V) +20 dB (7.75 V) phone jack 2
REC OUT (L,R) 600 Q 47 kQ lines —10 dB (245 mV) +6 dB (1.55 V) RCA pin jack 3
8 Q phones 1 mW 20 MW ,
PHONES 100 Q stereo phone jack 2
40 Q phones 3 MW 75 MW
VIDEO OUT (SOURCE 3) 75 Q 75Q 1 Vpp — RCA pin jack **
*1 XLR type connectors are balanced. (1=GND, 2=HOT, 3=COLD / CH 1, 2, 3, 4)
*2 All phone jacks are unbalanced
*3 All pin jacks are unbalanced
*4 |n these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 volts RMS.
18
Tm
Dimensions/Abmessungen
] 438 (17.24”) =
a ~~
| ON
| | 8
EE Ne ee 1 —
® ® =
+ | ©
~~
э|= | ©
® ® = | —| 5
oO!
® SISIE
e se
O
UU y y dd y 77 НО 19 19 С О О 1 В —
me
o
1e
W/L/B:480 (18.90”)
olaoizalol:al:a ol:ol:o| + f§:0]/O]C
0
> D o | 9
D D =
D
© 9 O с
© O © =
L, | Date Еее — т
JU
Block & level diagrams/Schémas de principe/ Block- und Pegeldiagramn
—_ —_— tn
SPEECH a
SIGNAL
(REAR) è— 3 5 SOURCE
e—” o MUTE
MIC. 2 | o uw
[-60%-16] | =
| = @—
(FRONT) o o ‘
1
ol
PA GAIN GATE ma
2008 ode LOW HIGH
o —-—— ——
м > -- TT
MIC3. 4 0 © | MIC COMP
69-44) DH Same as MIC1.2 8
PA —— —— OFF
~ [0] Ou, > to]
| coup orc
MICE. 8 o D Y»
[-80~+4) | | o | Same as MIC1, 2 TH RATIO
EXTERNAL +15V. GND oT a
sea =
he
E
0
EFFECT Vio
SUB IN US
10)
o
wl
- des
7 o Ps го) [51-101 >
BGM GAIN | |
{-20~+4) € {The 6
‘в © | А 4] col
PP “e My >> [0]
ft © @— ol | — |
A GAIN | |
В {01 [у 1-10! |
LR © м | | 1
SOURCES. 2 | | Г, | | &
- +
B GAIN a o |
|
RD A AUTO |
BGM MUTE
Ga, |
AL |
A © GAIN B 1. DET
RO | to! [het-s01 ©
Ма) C1 4 0 !
-20-+ = MUTE
© > o oh 2
B GAIN | | 5
SOURCES \в © |
LT |
VIDEO й © a
IN
livre) Le @- ге
EXTERNAL
MONITOR IN у
10) Yr
gen|| CLIPPING LEVEL {+241 .
+20 — [+20] _ [+20]
/
+10— (+10) _ /
SOURCE GAIN MIN [+4]
[WIC BAIN KINCPAD OW) “a [0] [0]
e /
~10 =
MIC GAIN MINUPAD OFF) [-18]
/
- 20 — pr = is — +
SOURCE GAIN MAX [1-20]
- 4 0
-50
„so |
MIC GAIN MAX(PAD OFF) 41-60)
agramme
MAIN BUS
4 x
L
REC OUT
[-10]
R
iP
1
MONO QUT
10 [+4]
MAIN QUT1
[+4]
L
MAIN OUT2
[+4]
R
ET
MON] TOR
OUT
[+4]
2
PHONES
SOURCE3
VIDEO OUT
{1Vpo]
2 CLIPPING LEVEL [+24] sam
_ _ _ [+20] _ ри +10
/ PEAK LED TURNS ON [+17] м OUT. 2
110) / AIN DUTY.
— PHONES MONO OUT1.2 — +10
‚MONITOR OUTI+4] MONITOR OUT(+4]
— др
—— это + A — 0
[0] me
118117 MONO OUTAT=37 7 \
MONO QUT1 1-7] NREC_QUTI-10N| _40
MAIN QUT[-10] 1
PHONES 1-18, €)
— -20
p— —-30
— -40
— -50
— -60
YAMAHA
VQ56390 |R2 1 CR
YAMAHA CORPORATION
95 07 200 CR Printed in Japan P.O.Box 1,Hamamatsu,Japan
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement