Yamaha M1524 Owner's manual 28 Pages

advertisement

Manual
Yamaha M1524 Owner's manual | Manualzz
YAMAHA
M1524
M1532
PROFESSIONAL
SERIES
MIXER
TES CE ESC
CASAS
| 7 RS a aR a RO |
DE RX OCIO Q. 0 |
E ›
CECI The Yamaha M1524/M1532 is a sophisticated
FE POT
DP EEE
FC" PE PO a
a PU) - - ®
A AE TERR
В -
“e [o
-
+ PS
ar
EL rr EE Y
e po 9
(RE a
| TUT ET Se professional mixing console intended for fixed
-
- СЭ -
pri à -
i |! Ee"
*-
NN ES or portable sound reinforcement, as well as
EN | recording, broadcast production, or any critical
a В sound mixing application. It makes an excellent
main mixing boards for large scale sound rein-
forcement, complex nightclub, theatrical and
broadcast work. The M1524/M1532 has 24/32
| input channels. Each channel has a pair of
switch-selectable inputs, either of which is usable with mic or line
| level sources. The input channels have interstage patch points (EQ Out/Fader
In jacks), and similar insert points are provided for the program, echo and foldback busses. The M1524/M1532
has 13 mixing busses (including a 5 x 4 matrix), and 17 outputs (plus patch outputs).
The M1524/M1532 is built of only the finest components such as smooth, quiet conductive plastic faders, and
multi-brand equalizers with center-tapped “flat” position detents. These controls are calibrated accurately, in dB,
for precise, repeatable settings that save valuable set-up time. To minimize hum and ensure the greatest reliability
in critical environments, the M1524/M1532 is equipped with a separately packaged bipolar 25 volt power supply
that affords a generous margin of headroom (a full +24dBm output). For the utmost in serviceability, the M1 524/
M1532 has the convenience of plug-in modules, removable via the front panel and electrically connected to the
power and signal busses with ribbon cables. You'll appreciate the extra refinements in the M1524’s/M1532’s
advanced technology, reliability and human engineering. For example, the pick-off points for the switch
selectable pre-post echo and foldback sends may be changed by means of simple jumper rewiring. Likewise, 10dB
of gain can be added to the mixer's program, echo and/or foldback outputs. Extra convenience is afforded by
front-panel input polarity reversal switches, individual channel and master phantom power switches, a relay
actuated cuefsolo system, channel and master On/Off switches, and a built-in test/calibration oscillator.
Two-stage peak-indicating LEDs on the inputs, and Output VU meters with peak LEDs together give an accurate
picture of signal levels and headroom. To take full advantage of your M1524/M1532 mixer's many features,
please read this manual carefully.
3 И
| -
PE И
С]
р -
a 5 *
я Los я E
CONTENTS
OPERATING INSTRUCTIONS - FRONT PANEL APPLICATIONS |
Input Channels ......oc_e.eee_cxcezescocoaeodna 2 General Sound Reinforcement and the Mix Matrix .. 14
Master Modules/FB 8: Phones Modules .......... 5 Stage Monitoring .....e.r—ceecoreasnoaecrooreo 16
Talkback Module .............. ccc 7 Recording .....e..íe.eosxereorrereoreconreo 17
Output Meters .....e.e.erereercmororeooora 8 Television Production ..................... 18
INSTALLATION & REAR PANEL FEATURES Theatrical Production ........i_eoaenseseroan 19
Mixer Rear Panel ......erewosnxrerossoenradrooo 9 MAINTENANCE
Power Supply ....o..eod_oeosnrecsroradoscmcreo 11 Panel and Cabinet Cleaning. ................. 21
Hook-up Cables & Hum Avoidance ............ 12 Spare Parts .....wosnecvoeoredornaosearoererna. 21
More About the Theory of Grounding .......... 12 Fuse Replacement .......ozocreroeesre sedes 21
Mixer Placement. .........2.2000000 00000000 12 Meter Lamp Replacement .................. 21
Warning ....oe..ooessecorrrorrrvndrorarerdos 12 Module Removal and Replacement ............ 22
OPTIONAL FUNCTIONS OF THE M1524/M1532.... 13 GENERAL SPECIFICATIONS ................. 23
Adding 10dB of Gain to the Output Stages ....... 13 INPUT/OUTPUT SPECIFICATIONS ............. 23
Changing the Point Where Pre-Fader Signal BLOCK DIAGRAM ...... iii tien eases 24
is Derived for the Input Channel's Echo LEVEL DIAGRAM..... AAA AAA 25
and Foldback Sends .....eo.xonmscQsssncececa 13
OPERATING INSTRUCTIONS-FRONT PANEL
INPUT CHANNELS NOTE: It is not necessary that you be able to read a block diagram in order to understand and use
rere
=
|
—®
v QUE
this mixer. However, the block diagram on page 24 can be thought of as a “road map” to the
mixer, one that can give you a wider perspective to evaluate the following descriptions.
O cuE SWITCH
Pressing the Cue button applies the channel input signal to the cue bus for preview or “solo” moni-
toring with the headphones and/or the Cue/TB VU meter. Any other signals being monitored in the
headphones are automatically disconnected by a relay when this button is pressed down.
Press the Cue button part way down for a momentary preview, or press it all the way down to engage
the button; the Cue button changes color when it is engaged to remind the channel(s) is in cue mode.
Although the cue signal is not affected by the Fader, it is affected by the Input Level Selector, Filter,
Channel EQ, and anything connected in between the channel's Interstage Patch Qut/In jacks.
@ CHANNEL FADER
The Fader continuously varies the channel output level to the four program mixing busses. It affects
the channel's Foldback and Echo bus sends only when their respective Pre-Post switches are in Post
position. The nominal setting is “—10” position, as indicated by a heavier calibration line. When the
input signal is the same level as the Input Level switch setting, the nominal Fader setting applies an
optimum level to the mixing busses; if the Master Fader is also at nominal, the mixer output level will
be +4 dB. The Fader is calibrated in dB of attenuation.
€ CHANNEL ON/OFF SWITCH
When this button is up, the input signal to the channel is not applied to any mixing busses or to the
channel patch jacks; pressing the button in activates the channel outputs. The button changes from
black to yellow-green when engaged, indicating the channel is On. The On/Off switch can be used to
quickly and completely mute a channel without disturbing level settings, and for “instant fades’ up
to the level previously established with the channel Fader, FB and Echo level controls.
O INPUT LEVEL SWITCH AND LED PEAK INDICATORS
The Input Level switch changes the input sensitivity to accommodate nominal input levels of —60,
—50, —35, —20, —10 or +4 dB. Respectively, these levels correspond to low level dynamic or ribbon
mics, medium and high level condenser mics, preamplified electric instruments, and low or high line
level audio processing or mixing equipment.
Adjacent are two LED indicators that help the operator determine the proper setting of the Input
Level switch. The green LED shows when the preamplified input signal is peaking in a safe range by
turning On when the level reaches or exceeds 13 dB below clipping. The red LED turns On, warning
of impending distortion, when the level reaches or exceeds 3 dB below clipping.
To establish the Input Level switch setting that yields the best combination of maximum headroom
and minimum noise characteristics, first set it at +4 dB position. Then apply a typical input signal to
that channel (e.g., talk or sing into the microphone, play the instrument to which the channel is
connected, etc.). Turn the Input Level switch to more sensitive settings (toward the “—60” end of the
scale) until the green LED begins to flash during most peaks, or until the green LED remains On and
the red LED flashes occasionally. If the red LED flashes often or stays On, reduce the Input Level
switch sensitivity (turn it up toward the “+4” end of the scale).
© INPUT SELECTOR & INDICATOR
Two identical but separate inputs are provided for each channel, making it unnecessary to unplug
and reconnect cables in order to change the input source. Instead, the Input Selector pushbutton
determines which of the channels two XLR connectors, M1 or M2, actually supplies the audio signal
to the channel; the adjacent amber LED turns On when the M2 input is active. As an example, the
mixer's M1 inputs might be used for “live” microphones, while the M2 inputs could be used for
playback from a multi-track tape machine; this will generally require resetting the Input Level
switches to the appropriate sensitivity, but no cables need be moved around. In some instances, the
M1 inputs could be used for one set of microphones, and M2 for another set, corresponding to two
different “scenes” in a given production.
@ PHASE (POLARITY) REVERSAL SWITCH
When the switch button is up, the polarity of the incoming
signal is Normal; i.e., the selected M1 or M2 input connector
is wired so that Pin 2 is audio high, Pin 3 is audio low, and
pin 1 is grounded. When the button is pressed down, the
polarity is reversed so that pin 3 is high and pin 2 is low.
This eliminates the need to rewire connectors or use adapters
for out-of-phase (reversed polarity) audio sources. Sometimes
intentional polarity reversal can be helpful in canceling
leakage from adjacent microphones, or in creating electro-
acoustic special effects by mixing together out-of-phase
signals from mics picking up the same sound source.
© PHANTOM POWER ON/OFF SWITCH
This button has no effect when the rear-panel Master
Phantom Power switch is Off. When the Master switch is On,
this button turns the channel's phantom power On (button
down) and Off (button up). When On, +48 volts (40V for
U.L. & C.S.A. approved models) is applied to both pins 2 & 3
of the channel input XLR connector, via 6.8kohm isolation/
current limiting resistors, for remote powering of condenser
microphones. Although phantom power will not harm most
dynamic and other non-phantom powered microphones or
line-level devices, connection of an unbalanced source to the
channel input could partially short the mixer's phantom
supply, cause undue loading, and induce hum. Therefore, it is
a good practice to turn off the channel's phantom power
unless it is actually in use.
NOTE: The mixer's microphone power supply is not
intended for 12 volt or A-B powered microphones.
External supplies may be used with these devices, in
which case the mixer's phantom power should be
turned OFF on the appropriate channels.
O FOLDBACK PRE-POST SWITCH
The mixer is factory wired to derive the foldback signal from
either of two points, depending on the setting of this switch.
PRE position (button down) takes the foldback send ahead
of the channel Fader and Equalizer. This is done because
program changes intended for house feed could distract
performers who use the foldback circuit for stage monitoring
(hearing themselves). POST position (button up) derives the
foldback signal after the Fader and EQ, as may be desired for
special effects, or where the foldback busses instead serve as
additional echo/effects busses or auxiliary mixing busses. The
Pre-Post switch simultaneously affects both the FB1 and FB2
sends.
NOTE: In some applications, it is preferable to have the
PRE position be Pre-Fader/Post-EQ rather than Pre
Fader & EQ. The M1524/M1532 is equipped with
internal jumpers that make it easy for a qualified
service technician to change the “Pre” function in
this manner. The modification can be performed on
a channel-by-channel basis; a given channel's FB1
and FB2 sends both will be affected by the jumper
change. Refer to page 13 of this manual for addi-
tional information.
O FOLDBACK MIX LEVEL CONTROLS (FOLDBACK
SEND LEVEL)
The mixer has two foldback mixing busses. The channel's
FB1 and FB? controls adjust the amount of channel signal
applied to the corresponding foldback mixing busses.
(D ECHO PRE-POST SWITCH
The mixer is factory wired to derive the echo signal from
either of two points, depending on the setting of this switch.
POST position (button down) derives signal after the channel
Equalizer and Fader. Because the feed is post EQ, it sends
the echo/effects device the same tonal balance sent to the
program busses. Because the feed is post Fader, the channel
contribution to the echo or effects device always tracks the
channel output level to the program busses. PRE position
(button up) still derives the echo send after the Equalizer, .
but it is ahead of the channel Fader. This makes it possible
to fade a channel in the main program mix, but have it
“linger” in the echo mix. PRE is also useful where the echo
busses are being used as auxiliary program mixing busses. The
Pre-Post switch simultaneously affects both the Echo 1 and
Echo 2 sends.
NOTE: In some applications, it is preferable to have the
PRE position be Pre-Fader & -EQ rather than Pre
Fader/Post EQ. The M1524/M15632 is equipped
with internal jumpers that make it easy for a quali-
fied service technician to change the “Pre” function
in this manner. The modification can be performed
on a channel-by-channel basis; a given channel's E1
and E2 sends both will be affected by the jumper
change. Refer to page 13 of this manual for addi-
tional information.
O ECHO MIX LEVEL CONTROLS (ECHO SEND
LEVEL)
The mixer has two echo mixing busses. The channel's Echo 1
and Echo 2 controls adjust the amount of channel signal
applied to the corresponding echo mixing busses.
HIGH PASS FILTER (HPF 80) SWITCH
The channel circuitry includes an 18 dB per octave High Pass
Filter with an 80Hz turnover frequency. Pressing down the
HPF 80 button engages the filter. When the button is up, the
filter is bypassed. The filter is useful for eliminating unwant-
ed low frequency sounds without significantly affecting the
rest of the program. Typical applications including cutting
wind noise, vocal “P” pops, stage rumble, and low frequency
leakage from adjacent instruments. In general, it is a good
practice to use the filter to protect woofers from unnecessary
over-excursion due to the presence of unneeded low
frequency or sub-sonic components, especially if a micro-
phone is dropped or kicked; the filter should be bypassed
(switch up) only when low frequencies are intentionally
sought, as with an organ, drum, bass guitar, and so forth.
@® EQUALIZER (EQ)
Each M1524/M1532 channel Equalizer can be adjusted for
up to 15dB of boost or cut at four different frequency
ranges. However, separate switches provide a choice of the
frequencies affected, so there are actually 16 EQ points per
channel. The Low and Low Mid ranges overlap to give a
choice of shelving or peaking EQ, as may be desired. The
controls are calibrated in dB; centering them in the detented
“0" position ensures flat audio response by grounding the
equalizer control.
The LOW EQ control provides shelving type equalization
with a knee at 50Hz, 100Hz, 200Hz, 250Hz or 500Hz,
depending on the setting of the concentric frequency selector
knob.
The LOW MID EQ control provides peaking type equaliza-
tion at 250Hz, 350Hz, 500Hz, 700Hz or 1,000Hz, depending
on the setting of the concentric frequency selector knob.
The HIGH MID EQ control provides peaking type equaliza-
tion at 1.2kHz, 2kHz, 3.5kHz, 5kHz, or 7kHz, depending on
the setting of the concentrik frequency selector knob.
The HIGH EQ section provides shelving type equalization at
10kHz.
In many mixes, EQ is used to modify tonal characteristics for
better separation; for instance, given similar-sounding
instruments on two channels, you might boost one channel's
Low Mid control and boost the other's High Mid control.
EQ can be used to correct certain acoustic imbalances, such
as using High boost to liven up a “dead” room, or Low cut to
avoid the boominess in some rooms. Another use of EQ is to
avoid leakage and excess noise without significantly changing
the sound. For example, if a base drum is the only sound on
a given channel, you might wish to cut the High control and
thus eliminate background hiss as well as leakage from high
frequency instruments such as strings. Since bass drums don't
produce much high frequency sound, the EQ does not
drastically change the instrument’s sound.
Bl EQUALIZER RESPONSE
Response (dB)
Frequency (Hz)
@ PANPOT
This rotary control adjusts the relative output level available
to the four program mixing busses. Panning to the left
gradually lowers the level applied to bus 2 and/or 4, and
increases the level applied to bus 1 and/or 3. Conversely,
panning to the right gradually lowers the level applied to
bus 1 and/or 3, and increases the level applied to bus 2
and/or 4. Panning to the center position provides equal
output to all four busses for a centered acoustic image;
center position feeds the Left and Right busses signals that
are 3dB below the maximum full-Left or full-Right panned
level. This ensures that the combined output power remains
constant as the signal is panned across a stereo pair.
© BUS ASSIGN SWITCHES
Pressing down any of these four pushbuttons applies the
channel output to the corresponding program mixing bus, 1
through 4 (given that the Pan pot, channel Fader and channel
On/Off switch are set appropriately).
MASTER MODULES
О 10
MTRX MASTER
o—+—®
MTRX ON/OFF
O—/©
PGM ON/OFF
MASTER-1
© ©
PGM 1
Y CUE
FB 8: PHONES MODULES
©
FCHO 1
©
ON/ OFF
PHONES LEVEL
O—
SLE
FB & PHONE
® ©
@ PROGRAM MASTER FADERS
The four Master Faders adjust the overall level of their
respective Program mixing busses prior to feeding the
Program outputs. These Faders control all signals from the
channel Pan controls and Assign buttons, Talkback In and
Effects In (when assigned to PGM), and Program Sub Inputs.
The nominal Fader setting is —10dB.
OQ PROGRAM CUE SWITCHES
The Cue button beneath each Master Fader is similar to the
Cue button beneath the Input faders, assigning the signal,
before the Master Fader, to the cue bus for monitoring via
the headphones and/or TB/Cue VU meter.
۩ PROGRAM MASTER ON/OFF SWITCHES
Pressing the button in activates the corresponding Program A
& B Outputs, and a bright color appears in the button. When
the button is up, the post-Master Fader signal is not applied
to the Program A or B outputs, or to the Mix Matrix. Regard-
less on On/Off setting, signal is always applied to the corre-
sponding Program Insert Output jack.
@ ECHO MASTER LEVEL CONTROLS
These two rotary controls adjust the overall level of their
respective Echo 1 and 2 mixing busses prior to feeding the
Echo outputs. They control all signals from the. channel
Echo controls, Talkback In (when assigned to Echo), and the
Echo Sub Inputs.
@ ECHO MASTER ON/OFF SWITCHES
Similar to the Program Master On/Off switches, these
buttons turn the Echo Outputs On and Off. They do not
affect the Echo Insert Output jacks.
@ FOLDBACK 1 & 2 MASTER LEVEL CONTROLS
These two rotary controls function just like the Echo Master
Level Controls, except they affect the Foldback 1 & 2
Output Level. |
@ FOLDBACK MASTER ON/OFF SWITCHES
These two buttons function just like the Echo On/Off
switches, except they affect the Foldback 1 & 2 Outputs.
EFFECTS RETURN SECTION (LOCATED ON THE
MASTER MODULES)
These are four Effects Inputs, each of which may be used for
“return” of echo/reverb signals, or of other special effects
that were “sent” out of the mixer's echo or foldback
outputs. Alternately, the Effects inputs can be used as auxi-
liary line inputs. Each effects Input can be assigned to a
variety of busses, and adjusted for different levels, as
determined by the following controls:
O EFFECTS IN LEVEL CONTROLS 8: CUE BUTTONS
These rotary controls adjust the level of the incoming signal
from the respective effects Inputs (1 — 4). The Cue button
beneath each Effects In control is similar to the Cue button
beneath the Input faders, assigning the Effects In signal to
the cue bus for monitoring via the headphones and/or the
TB/Cue VU meter.
© EFFECTS INPUT FOLDBACK & ECHO ASSIGN
SWITCHES
These pushbuttons assign the signal from the Effects Input
channel (1 — 4) to the mixing bus corresponding to the
button label, i.e., FB 1, FB 2, Echo 1 or Echo 2. Any or all
buttons may be engaged at the same time.
CAUTION: If an effects input is assigned to a mixing bus
whose output is feeding the external effects
device, severe feedback (howling) can result.
In some cases a time delay can be “assigned to
itself,” provided the effects return level is kept
down so that decaying regeneration (fading
repeats) will be obtained.
D EFFECTS TO PROGRAM/MATRIX SWITCHES
In addition to the FB and Echo busses, each Effects In
channel may be assigned either directly to the Program
mixing busses, or to the Mix Matrix Master controls; the
PGM/MTRX button determines which set of 4 busses is fed
(down = Matrix, up = Program); the specific assignment also
depends on which Effects Master Assign buttons are engaged.
When the Effects Input is assigned directly to the Mix
Matrix, the Effects In level control actually serves as a fifth
Mix Matrix level control. (When an Effects Input is assigned
to PGM, the signal will ultimately be fed to the Mix Matrix
also, but only after first being routed through the Program
Insert jacks, Master Fader, Master Program On/Off switch,
and the appropriate Matrix Level control/s).
® EFFECTS MASTER ASSIGN SWITCHES
In order to actually apply the Effects In signal to the desig-
nated busses, program or matrix, these individual bus assign
Master switches, 1 through 4, must be pressed down.
MIX MATRIX (LOCATED ON THE MASTER MODULES)
Each channel of the Mix Matrix is a vertical row of level
controls that can be used to create a discrete mono combi-
nation of various signal sources. The Mix Matrix is really a
4-input by 4-output “mixer-within-a-mixer” (9-in x 4-out
when Effects and Talkback inputs are assigned to matrix),
and some of its many uses are described in the Applications
discussions, beginning on page 14.
® PROGRAM MIX LEVEL CONTROLS |
These four rotary level controls apply signals from the corres-
pondingly numbered Program Outputs, 1 through 4, to the
Mix Matrix channel. When a control is turned all the way
down (fully counterclockwise), no Program signal is applied
to its matrix channel. The program feed is derived after the
Program Master Faders, so master fades do affect matrix
levels.
NOTE: Additional inputs to the Matrix do not appear with
the Mix Matrix controls; they come from the
Effects Return inputs, and the Talkback input,
which are applied directly to the Matrix Master
controls. Because each Effects Return signal, and
the Talkback signal, can be applied to any combi-
nation of the four Mix Matrix channels, it is actually
possible to set up a quasi 9 x 4 matrix, 5 of the 9
mix controls being the Effects In level and TB level
controls.
O MATRIX MASTER LEVEL CONTROL
Each matrix channel can be used to develop a unique balance
of the four Program mixing busses (plus any assigned Effects
inputs). These rotary controls set the overall output level
of their corresponding matrix channels.
@ MATRIX ON/OFF SWITCHES
The Matrix On/Off switches serve a similar purpose to the
Program Master On/Off switches; pushing a button in turns
On the corresponding Mix Matrix Output.
HEADPHONE MONITOR SECTION (LOCATED ON THE
FB & PHONES MODULE)
Eight pushbuttons select various signal sources to feed the
headphones. Any combination of buttons may be engaged
simultaneously. The functions are described in chart form.
® HEADPHONE MONITOR SELECTOR
WHERE IT APPEARS
IN THE PHONES
MIX MATRIX CHANNEL 1 |Left earpiece
SELECTOR BUTTON
MIX MATRIX CHANNEL 2
MIX MATRIX CHANNEL 3
MIX MATRIX CHANNEL 4
Right earpiece
Left earpiece
Right earpiece
ECHO 1 OUTPUT
ECHO 2 OUTPUT
FOLDBACK 1 OUTPUT
FOLDBACK 2 OUTPUT
Both earpieces (center mono)
Both earpieces (center mono)
Both earpieces (center mono)
Both earpieces (center mono)
NOTE: While the program mix busses cannot be assigned
directly to the Phones, it is nonetheless easy to
monitor them in stereo. Assign any “Left” program
bus (1 and/or 3) to Matrix channel 1 and any
“Right” bus (2 and/or 4) to Matrix channe! 2. Then
engage Headphone Selector buttons 1 & 2 to hear
the program in stereo. (Matrix channels 3 & 4 could
be used similarly, or they can be used for stereo
monitoring of the Foldback busses when FB is used
for an auxiliary stereo mix.)
(OM CUE-ASSIGNED INDICATOR
There is a ninth signal source that feeds the headphones, the
Cue bus. However, no Cue selector button is associated with
the headphone monitor section. Instead, whenever any
Input, Master or Effects Cue button is pressed, a relay auto-
matically applies the Cue signal to both earpieces; this red
LED also turns On. At the same time, any signal or signals
that had been assigned to the phones are temporarily muted.
O PHONES LEVEL CONTROL
This two-gang rotary control simultaneously adjusts the level
in the left and right earpieces. Adjusting the Phones Level
control affects only the level in the Phones output jack, not
the mixing bus or other mixer output levels.
NOTE: The Headphone output, not illustrated here, is a
standard 1/4” (6.3nmm) stereo phone jack on the
right front edge of the mixer. It will drive conven-
tional 8-ohm or higher impedance stereo phones,
However, it can be used to drive a power amplifier
and monitor speakers for studio applications (a
splitter cable could be necessary to drive the left
and right amplifiers).
TALKBACK
MODULE
—e
©
o 107
INPUT LEVEL
TALK BACK
4
ne
=
< A
q N
I
Eo
5
TALK BACK
® ©
Talkback, when used with a microphone, is useful for communicating with performers, for identify-
ing recordings (voice slating), and for making announcements from the mixing area. The talkback
feature can be used for pre-recorded music during intermissions and for setups. Talkback is further
Useful for introducing tones or noise, from the built-in test oscillator or an external source, for cali-
bration and testing. Talkback also can be used as an auxiliary direct-to-bus microphone or line input.
@ TALKBACK TO PROGRAM/MATRIX SWITCH
In addition to the FB and Echo busses, Talkback may be assigned either directly to the Program
mixing busses, or to the Mix Matrix Master controls; the PGM/MTRX button determines which set of
4 busses is fed (down = Matrix, up = Program); the specific assignment also depends on which
Talkback Master Assign switches are engaged.
When Talkback is assigned directly to the Mix Matrix, the Talkback level control essentially serves as
a fifth Mix Matrix level control (it continues to serve as the Talkback Out level control). When
Talkback is assigned to PGM, the signal will ultimately be fed to the Mix Matrix also, but only after
first being routed through the Program Insert jacks, Master Fader, Master Program On/Off switch,
and the appropriate Matrix Level control(s).
OQ TALKBACK MASTER ASSIGN SWITCHES
In order to actually apply the Talkback signal to the designated busses, program or matrix, these
individual bus assign Master switches, 1 through 4, must be pressed down.
@ ECHO BUS 1 ASSIGN SWITCH
@ ECHO BUS 2 ASSIGN SWITCH
© FOLDBACK BUS 1 ASSIGN SWITCH
( FOLDBACK BUS 2 ASSIGN SWITCH
Pressing down any of these four pushbuttons assigns the Talkback input (or Test Oscillator) to feed
the corresponding bus. Any combination of these switches, plus the Talkback Master Assign switches,
may be engaged simultaneously.
@ TE OUTPUT ON/OFF SWITCH
When this button is down, the Talkback Input and the built-in Test Oscillator are fed to the rear-
panel XLR Talkback Output connector. When the button is up, the TB Out connector is muted, but
Talkback assignments to any mixing busses are not disturbed. A jumper cable connected to the TB
Output can be used to test or calibrate any of the mixer's inputs, or to check external equipment.
@ TEST OSCILLATOR
Two pushbuttons activate the built-in Test Oscillator so it generates either (a) pink noise or (b) a
1kHz sine wave tone at nominal +4dB level (not subject to the TB Level Control). Whenever the
oscillator is not in use, the third pushbutton, Off, should be pressed down to deactivate the circuitry
and avoid any possible tone or noise leakage.
O TALKBACK INPUT CONNECTOR
This 3-pin female XLR connector is a balanced, transformer-isolated input which accepts a low
impedance microphone or a line level source, and applies it to the mixing busses selected with the
Talkback Assign switches (and to the Talkback Output when the TB On/Off switch is On).
O TALKBACK INPUT LEVEL SWITCH
When this button is up, the nominal Talkback Input level is —50dB, suitable for a microphone. When
the button is down, the nominal level is +4dB; this is suitable for most line-level sources since there is
adequate sensitivity in +4” position to obtain +4 output with input levels as low as —16dB. “+4”
position creates a true line input by means of both a pre-transformer pad and a preamp gain change.
O TALKBACK INPUT LEVEL CONTROL
This rotary control adjusts the level of the talkback signal. It should be used in conjunction with the
proper Input Level switch setting, +4 or —50. Attempting to use a line level source by turning down
this control with the Talkback sensitivity set at —50dB will cause excess distortion (due to trans-
former saturation), and will restrict the useful control range.
® TALKBACK ON/OFF SWITCH
When the button is up, it is Off, preventing the Talkback Input from going anywhere. Pressing it
down applies Talkback to whatever bus(ses) have been selected with the Talkback Assign switches,
and to the Talkback Output when it is switched On. (It is a push-to-talk switch.)
The switch is wired so that when it is up, the built-in Test Oscillator feeds those busses to which
Talkback is assigned; when the button is down, the Talkback Input replaces the Test Oscillator signal.
OUTPUT METERS
& YAMAHA
PROFESSIONAL SERIES
MASIN SO RELLE WED M1532
* ECHO 2
—
O PGM VU METERS (1 through 4)
These four illuminated meters have standard VU ballistics,
designed to provide a good indication of average perceived
Program Output level. The meters are calibrated so a 70”
indication represents a +4dB (1.23V) output level. To
monitor any brief peaks that are too fast for accurate meter
response, a red LED is installed in the upper right corner of
each meter. A peak detection circuit turns on the LED when
the signal level reaches or exceeds 10dB below clipping (i.e.,
+14dBm output). This warns the operator of impending
clipping and provides an opportunity to adjust levels before
distortion becomes noticeable.
OQ MTRX VU METERS (1 through 4)
These four illuminated meters are identical to the adjacent
PGM meters, except they monitor the four MATRIX
outputs. As with the program meters, signals are derived
before the transformer, so output loading will be less likely
to affect the meter readings.
@ ECHO/FB VU METERS (1 and 2)
These two meters are nearly identical to the PGM and MTRX
VU meters, but are slightly smaller in size. They also include
peak LEDs, and are calibrated to the same reference levels as
the larger meters.
O ECHO/FB METER ASSIGNMENT SWITCHES
The two adjacent VU meters can be assigned to monitor
either of two signal sources, depending on the setting of
these lever switches. FB position (switch down) monitors the
corresponding Foldback 1 or 2 Output, and ECHO position
(switch up) monitors the Echo 1 or 2 Output. Signals are
derived before the transformer, so output loading will be
less likely to affect the meter readings.
O TB/CUE VU METER
This meter is identical to the ECHO/FB VU meters, but
monitors different busses: Cue or Talkback. When the Meter
is displaying TB Out level, it derives the signal ahead of the
rear-panel TB output level switch. Thus, a 0 VU indication
may correspond to either +4dB or —50dB, and the peak LED
will be scaled accordingly.
@ TB/CUE METER ASSIGNMENT SWITCH
The adjacent VU meter can be assigned tc monitor either of
two signal sources, depending on the setting of this lever
switch. CUE position (switch down) monitors the Cue
mixing bus, and TB position (switch up) monitors the Talk-
back Output. In TB position, the meter will only show the
signal fed to the Talkback Output; if the TB On/Off switch is
Off, the meter will be inactive.
INSTALLATION & REAR PANEL FEATURES
PW1500B ©
о
U.S. & Canadian
models
mi А
See
2
NOTE: ALL XLR connectors in the M1524/M1532 are wired as follows:
O TB OUT CONNECTOR AND LEVEL SWITCH
This Talkback output is a male XLR connector, transformer-
isolated (floating), and is switchable to either of two nominal
levels with the adjacent recessed slide switch: +4dBm
(1.23V) for line-level feeds or —50dBm (2.5mV) for
microphone-level feeds. The actual source impedance is 150
ohms, and the output will drive 600 ohm or higher
impedance loads. The output is only “live” when the front-
panel TB OUT switch is engaged. Voice signals from the
Talkback microphone may be used to feed intercoms. Tone
signals from the built-in test oscillator may be patched into
the various mixer inputs, or into external equipment, for
testing and calibration.
@ MASTER PHANTOM POWER SWITCH
When On, the switch applies +48V DC (+40V for U.L. &
C.S.A. approved models) to the phantom switches on each
input channel. Only when those individual channel switches
are On does the mixer apply the voltage across pins 2 & 3 of
the active channel input jack (M1 or M3), via a pair of 6.8
kohm isolation/current limiting resistors, for remote
powering of condenser microphones.
O MIXER INPUT FROM POWER SUPPLY UMBILICAL
CABLE
This 19-pin connector applies the various DC voltages and
ground references necessary for operation of the M1524/
M1532. To attach the umbilical cable from the PW1500B
power supply, align the keyways in the mating connectors,
press the cable into the chassis connector, and turn the
locking collar clockwise.
O FB OUT CONNECTORS
These post Foldback 1 & 2 Master Fader outputs are male
XLR connectors, transformer-isolated (floating) with +4dBm
(1.23V) nominal level.) the actual source impedance is 150
ohms, and the outputs will drive 600 ohm or higher impe-
dance loads, including virtually all professional graphic
equalizers, electronic crossovers, and power amplifiers.
@ ECHO OUT CONNECTORS
These post Echo 1 & 2 Fader outputs are male XLR connec-
tors, transformer-isolated (floating) with +4dBm (1.23V)
nominal level. The actual source impedance is 150 ohms, and
the outputs will drive 600 ohm or higher impedance loads,
including virtually all professional echo and reverb devices. If
no or other effects are not required, the outputs may be
used as additional foldback sends or for making a stereo tape
recording.
6
O ©
@ MATRIX OUT CONNECTORS
These post Matrix 1 - 4 Master Level Control outputs are
male XLR connectors, transformer-isolated (floating) with
+4dBm (1.23V) nominal level. The actual source impedance
is 150 ohms, and the outputs will drive 600 ohm or higher
impedance loads, just like the PGM outputs. The difference
between MTRX OUT and PGM OUT really depends on the
application. In the sound reinforcement system for a large
house, MTRX OUT can be more useful because different
mixes can be fed to near stage and house fill speakers. In a
simultaneous recording/reinforcement application, PGM
might feed the tape recorder and MTRX feed the house
speakers. In broadcast work, MTR X can be used to do mono
feeds and mix-minus feeds, whereas PGM can be used for
stereo feeds. The many usés will depend on the requirements
of the particular installation,
© FBMASTER INSERT IN/OUT JACKS (1 & 2)
These 4 standard 1/e” (6.3mm) phone jacks form 2 pair of
unbalanced outputs and inputs, one for Foldback 1 and the
other for Foldback 2. The jacks are intended as patch points
for insertion of auxiliary signal processing equipment. The
nominal level is —6dB (388mV}; output source impedance is
100 ohms (for feed to 10 kohm or higher impedance inputs);
input impedance is 10 kohms (for use with 600 ohm
sources).
The patch points come just before the Foldback 1 & 2
Master Level controls. The signal normally flows from the
Out jack to the In jack via internal jumpers (the jacks are
“normalled””). A plug can be inserted in the Out jack without
disturbing the internal signal flow, so the Inseit Out jack can
be used to “split” the pre-Master signal for feed to high
impedance circuits. When a plug is inserted in the Insert In
jack, the internal jumper is disconnected, and the external
signal is fed to the Master Level control.
@ PGM OUT A & PGM OUT B CONNECTORS
These are post Master Fader Program outputs for mixing
busses 1 through 4. PGM A and PGM B are simply two
parallei-wired sets of 4 male XLR connectors; both connec-
tors for a given bus output are wired to the same output
transformer (floating) with +4dBm (1.23V) nominal level.
The actual source impedance is 150 ohms, and the outputs
will drive 600 ohm or higher impedance loads, including
virtually all professional graphic equalizers, electronic corss-
overs, power amplifiers, and tape recorders. The twin outputs
(A & B) provide extra convenience by avoiding the need for
““Y''" adaptors or splitters.
pin 2=signal high, pin 3=signal low, pin 1=shieiq.
M1532
INPUT CHANNEL INTERSTAGE PATCH EQ OUT 66
1
NNEL INTERSTAGE PATCH FADER IN - SdB
17 16 15
8 17 8 15
AA CE ¿A EA
(6) (6) Om (©) (©)
2" ro — pr?’
INF CHA!
18
FES,
A ¿Alo
(e) om (©)
vor” —
vs
1
€ ECHO MASTER INSERT IN/OUT JACKS
These four phone jacks are identical to the FB Master Insert
In/Out jacks, except they are located in the Echo 1 & 2
output circuitry.
@® PROGRAM MASTER INSERT IN/OUT JACKS
These eight phone jacks are identical to the FB Master Insert
In/Out jacks, except they are located in the Program 1 — 4
output circuitry, just ahead of the Master Faders.
@ EFFECTS IN CONNECTORS
These four female XLR connectors are transformer-isolated
(floating) inputs that apply signal to the Echo, Foldback,
Cue, Program or Matrix mixing busses, as selected with
front-panel assign switches. The signals are subject to the
respective Effects 1 — 4 Level controls. Actual input
impedance is 5 kohms, and nominal level is +4dB (1.23V).
These inputs are intended for nominal 600 ohm sources, such
as the return from echo or reverb devices, the output of a
tape recorder, or the line output of another mixer. Thus,
while suitable for return of special effects, these connectors
are equally useful as auxiliary line input channels.
® ECHO SUB IN CONNECTORS
These two female XLR connectors apply a nominal +4dB
(1.23V) signal to the Echo 1 & 2 mix busses via transformers
and pre-transformer attenuation pads. Actual input imped-
ance is 1 kohm, and the inputs are intended for nominal 600
ohm sources.
Sub Inputs may be used for linking the echo outputs of
another mixer to those of the M1532 for expansion of the
mixing system, or for applying any suitable line-level
source(s) to the mixer subject only the M1532 Echo Master
Level Controls.
® FB SUB IN CONNECTORS
These two female XLR connectors are identical to the Echo
Sub Inputs, except they apply signals to the Foldback 1 & 2
mix busses.
@ PROGRAM SUB IN CONNECTORS
These four femake XLR connectors are identical to the Echo
and Foldback Sub Inputs, except they apply signals to the
Program 1 through 4 mix busses. Like the Echo and FB Sub
Inputs, the Program Sub Inputs are useful for linking two or
more mixers for expanded input capability. Another use of
the Program Sub Inputs is for introducing a pre-recorded
program from a stereo or 4-channel tape recorder without
“using up” input channels.
15) CHANNEL INPUT M1 8: M2 CONNECTORS
These forty-eight/sixty-four female XLR connectors are
arranged in two banks of 24/32 channels; whether a given
channel's M1 or M2 connector is “live’’ depends on the
setting of the channel's front panel M1/M2 switch. These
XLR's are balanced, transformer-isolated inputs that apply
nominal —60dB (0.78mV) to +4dB (1.23V) signals (depend-
ing on Input Selector settings) to their respective input
channels. The actual input impedance is between 900 ohms
and 1.3 kohms, depending on the Input Selector setting.
This accomodates nominal 50 to 250 ohm (low impedance)
professional microphones as well as 600 ohm line level
sources. Phantom power for condenser microphones is
applied to XLR pins 2 & 3 when (a) the Phantom Power
switch is On, and (b) the corresponding input, M1 or M2, is
selected on the front panel.
O INPUT INTERSTAGE PATCH POINTS (EQ OUT/
FADER IN)
Forty-eight/sixty-four standard 1/4” (6.3 mm) phone jacks
are arranged in two banks of 32 channels, forming pairs of
unbalanced outputs and inputs. They are intended as patch
points for insertion in the input channels of auxiliary signal
processing equipment such as compressor/limiters, graphic or
parametric EQ, noise gates, etc. The interstage patch points
come just after their respective channel equalizers (EQ QUT)
and just before the channel Faders (FADER IN). The signal
normally flows from the EQ Out to the Fader In jack via an
internal jumper; a cable can be plugged into the EQ Out jack
without disturbing that jumper. Thus, the EQ Out jack can
be used to “split” the channel signal for direct feed to high
impedance circuits, such as the input to a multi-track tape
recorder, or the line input of an auxiliary mixer. When a plug
is inserted in the Fader In jack, the internal jumper is discon-
nected, and the external signal then feeds the channel Fader.
The nominal level is —6dB (388mV); output source
impedance is 600 ohms (for feed to 10 kohm or higher
impedance inputs); input impedance is 10 kohms (for use
with 600 ohm sources).
10
POWER SUPPLY
ue, 08
an AHA =
МУ IS500B)
GE YAMAHA
CAUTION
TO REDUCE THE FISH OF ELECTRIC SHOCK OD NOT SEMÓVE COVER
NO USER SEAVICE ABE PARTS INSIDE PILOT LalP SOLUOERED IN PLACE
NOE LE AISQUE DE (OC ELECTRIOUE ME PAS ENLEVER LE OOUVERCLE PNB
Là 1 INTERIEUÉ AUCUNE PIECE POUVANT ETRE RECAREE 248 L USADER PM 2-1
SOUDEE EN PLACE SADRESSER à UN BEPARATEUR COMPETENT
U.S. & Canadian models
POWER SUPPLY
The PW1500B power supply for the M1524/M 1532 is housed
separately from the mixer, and is interconnected with a
multi-conductor umbilical cable (supplied). The umbilical
cable connectors have screw-on locking collars to prevent
inadvertent disconnection. The power supply should be
connected to the mixer and to the AC mains before switch-
ing the supply On.
O AC POWER CORD
The AC power cord has a 3-pin plug (grounded type). In the
U.S. and Canada, the PW1500B power supply is wired for
110 to 120V AC mains, 50 or 60Hz, and uses a maximum
of 150 Watts. Because the power supply is fully regulated,
typical line voltage variations will not adversely affect
performance.
The console should be AC grounded for safety and for
proper shielding; the 3-wire power cord is provided for this
purpose. If a 3-wire outlet is not available, or if there is any
chance the outlet may not be grounded, a separate jumper
wire must be connected from the mixer chassis to an earth
ground. Cold water pipes generally provide good grounds;
however, if they are insulated by a length of PVC pipe or by
a water meter, cold water pipes are not good grounds. (An
electrical wire bypasses some meters, supplying ground conti-
nuity for the cold water pipes.) Avoid hot water pipes and
gas pipes. When in doubt, use a length of copper pipe driven
into moist, salted earth, burying at least 1.5m (5') of pipe, or
one of the newer chemical ground rods.
@ FUSE
The fuse should only be replaced with the same type and
rating: 3AG, 4A in the U.S. and Canada.
6) POWER SUPPLY OUTPUT TO UMBILICAL CABLE
This 19-pin connector provides the various DC voltages and
ground references necessary for operation of the M1524/
M1532. To attach the umbilical cable, align the keyways in
the mating connectors, press the cable into the chassis
connector, and turn the locking collar counterclockwise.
O AC POWER SWITCH AND INDICATOR LAMP
This pushbutton turns On the power supply, and thus turns
On the mixer. When power is On, the pilot light above the
switch is illuminated.
Hook-up Cables & Hum Avoidance
The mixer's primary input and output circuits are equipped
with transformer-isolated XLR connectors. When used with
the appropriate mating 2-conductor shielded cables (e.g.,
standard microphone cables), these circuits afford the
optimum protection against hum, buzz, and other noise pick-
up. Belden No. 8412, or its equivalent, is an excellent cable
due to its heavy construction, and should be used for all
portable applications. “Snake” cables containing multiple
shielded pairs must be handled very carefully because the
leads tend to be fragile, and a broken conductor cannot be
repaired.
The M1524/M1532 XLR connectors are wired with pin 2 as
“audio high” and pin 3 as “audio low”, in accordance with
DIN and JIS standards. Some professional equipment and
microphones are wired with pins 2 & 3 reversed; generally
this will cause no problem, other than a polarity reversal.
However, if such a piece of equipment uses an XLR
connector for .an unbalanced input, or if an M1524/M1532
XLR is connected, via an adapter cable, to an unbalanced
phone jack, the “high” side of the audio circuit might be
grounded. In this case, invert the wiring of pins 2 8%: 3 in one
XLR of the interconnecting cable, use a suitable polarity-
reversal adapter, or on an M1524/M1532 input channel,
engage the Phase Reversal switch. Regardless of XLR
polarity, if hum is encountered, try cutting the shield con-
nection at one end of the XLR cable.
All phone jacks (except the stereo headphone jack) are
intended for use with standard Tip/Sleeve 1/4” (6.3mm)
phone plugs and single-conductor shielded cable. Hum
reduction should not be attempted by cutting the shield on
these cables. Instead, restrict unbalanced cables to 10 feet
(3.1 meters), and try to set up the system so that either
(a) the equipment involved is all connected to the same AC
circuit, or (b) the third-wire AC mains ground is used on
only one piece of equipment, typicaly the mixer. Remember,
breaking a ground path can create a shock hazard.
When routing any cables, especially unbalanced cables, avoid
strong sources of electro-magnetic interference (EMI) or
radio frequency interference (RFI) such as electric motors,
fluorescent lights, dimmer panels, and so forth. To avoid
crosstalk-induced feedback, never bundle microphone input
cables with mixer output cables; these cables should cross at
right angles where practical.
More About the Theory of Grounding
Careful grounding procedures are essential for proper
operation, not only of the mixer, but of the entire audio
system. Many grounding techniques exist, and certainly there
are several ways to achieve a satisfactorily grounded audio
system. Several books have been written on the subject.
For further information, consult the following sources:
THE AUDIO CYCLOPEDIA by Howard M. Tremaine
(Pub, Howard W. Sams); SOUND SYSTEM ENGINEERING
by Don and Carolyn Davis (Pub Howard W. Sams):
GOUNDING AND SHIELDING IN INSTRUMENTATION
by Ralph Morrison (Pub. John Wiley & Sons).
Ground loops (also called “hum loops”), are often caused by
multiple paths from equipment grounds to the AC main
ground (“earth”) ground). Ground loops tend to induce hum
and allow noise to develop in an audio system; in severe
instances, equipment may begin to oscillate due to ground
loops. This oscillation can cause distortion and even damage
to amplifiers and loudspeakers. One way to avoid ground
loops is to make sure that there is just one path to the AC
ground (earth ground) for the entire audio system. One
popular method, though not necessarily the best or only one,
is to cut the shield ground of XLR cables at the input side of
the cable. Another technique is to ground all shields at one
piece of equipment, typically the mixer, and to cut the
shields at the other ends of the cables. (With unbalanced
phone jack cables, the shield must be connected at both
ends.)
Connect the mixer to the power mains ONLY AFTER
CONFIRMING THAT THE VOLTAGE AND LINE
FREQUENCY ARE CORRECT. (By all means, USE A
VOLTMETER... it can save your equipment and the show.)
It is also a good idea to check for proper polarity in the AC
outlet. The Power Switch on the mixer power supply should
be Off before connecting the supply to the mains. As a
further precaution, disconnect the mixer from the supply
(or unplug the supply from the mains) while audio cables are
being installed.
Mixer Placement
The M1524/M1532 is a fully portable, self-contained mixer
built in a hard, protective case. It may be placed on a table
top or a shelf at any convenient working height, or it can be
recessed for permanent, low profile mounting. Whether
recessed, or table top mounted, the mixer should be on a
level surface, with sufficient rear panel clearance for the
input and output cables.
Pull-out carrying handles are located just below the wood
panels on both sides of the mixer. Because the mixer is
heavy, when shipping it use a sturdy auxiliary shipping case.
tampering or any act of nature.
WARNING
In any audio system installation, governmental and insurance underwriters’ electrical codes must be observed. These
codes are based on safety, and may vary in different localities; in all cases, local codes take precedence over any
suggestions contained in this manual. As set forth in the Mixer Warranty, Yamaha International Corporation shall not
be liable for incidental or consequential damages, including injury to persons or property, resulting from improper,
unsafe or illegal installation or use of the Mixer or of any related equipment; neither shall the Corporation be liable for
any such damages arising from defects or damage resulting from accident, neglect, misuse, modification, mistreatment,
12
OPTIONAL FUCTIONS OF THE M1524 "M1532
Several circuits in the M1524/M 1532 have been designed so
that an optional function may be obtained by means of a
simple internal wiring change (installation, removal or
moving of a jumper wire). In all cases, the work can be done
in minutes, using only a soldering iron and a short jumper
wire. However, the work should be done only by a qualified
audio technician. Your Yamaha dealer or authorized Yamaha
repair center will be happy to assist.
NOTE: Whenever a given circuit is modified as described in
the following paragraphs, we recommend that a
descriptive label be attached to the mixer. In this
manner, faster setups and/or better mixing will be
aided by displaying the mixer's current functional
status to the operator.
Adding 10dB of Gain to the Output Stages
The M1524/M1532 Program, Echo and Foldback output
stages are designed so that the overall gain can be increased
by 10dB simply by installing a jumper wire on the respective
line amplifier. This extra 10dB of gain can be useful in situa-
tions where microphones must be used at a distance, such as
in churches or theatrical performances. The mixer is supplied
in the lower gain configuration because in other cases the
gain is not required, and it would merely amplify noise
unnecessarily.
Changing the Point Where Pre-Fader Signal
is Derived for the Input Channel's Echo and
Foldback Sends
A Pre-Post switch below the pair of Foldback send controls,
and another below the Echo sends, on each input channel
determine whether the associated controls derive signal after
the Fader and Equalizer (POST) or before the Fader (PRE).
As factory wired, however, the specific location of the Pre-
Fader Echo and Foldback sends differ; Echo is Pre-Fader
and Pre-EQ, whereas Foldback is Pre-Fader but Post-EQ.
The M1524/M1532 is designed so that the Echo PRE send
can be changed to be Pre-Fader/Post-EQ by means of a
simple jumper change on the channel circuit board. Similarly,
the Foldback PRE send can be changed to be Pre-Fader &
Pre-EQ.
APPLICATIONS
The following are but a few of the many ways the M1524/M1532 can be used. As you become familiar with this versatile mixer,
you will undoubtedly devise your own unique setups and operating techniques.
General Sound Reinforcement and the Mi x Matrix
Microphones and preamplified electric instrument outputs can be
connected to the M1524/M1532 channel inputs. Equipment or mics
used exclusively by separate acts or in different “scenes” can be con-
nected alternately to the M1 and M2 inputs for fast changeovers.
If echo/reverb needs are minimal, one or both echo busses can be used
for additional foldback (stage monitoring).
Master Insert Qut/In patch points can be used for compressors,
although a single loud sound can “duck” the entire mix; a good alter-
native is to compress only those few inputs which really require the
gain riding (via their channel interstage patch points). Master patch
points are also good places to connect parametric and/or graphic EQ
for house tuning, or digital delay lines for distributed speaker systems.
To get the most out of the Mix Matrix, the program busses may be
used for sub-grouping different sources; i.e., brass, drums/percussion,
vocal backup, lead vocal, etc. The Mix Matrix outputs are then used
to feed power amps (& speakers) for various zones in the main house,
the stage, and other areas. With all Program Master Faders at nominal
settings, a basic balance of the sub-groups can be established indepen-
dently for each zone of the sound system (each Mix Matrix channel)
by using the Matrix level and Master controls.
There are a number of advantages to the approach just outlined. For
instance, if the brass level is too high in all outputs, only one Master
Fader need be adjusted (the brass subgroup}, and the balance will
simultaneously change in all matrix outputs. For program fades, all
Program Masters may be brought down; the previously established
balance for each zone of the sound system reappears as soon as the
Master Faders are again brought back to nominal setting. If a
recording is being made directly from the program outputs, then do
house fades with the Matrix Masters and recording levels will be
unaffected.
USING THE M1524/1532 AS A DEDICATED MONITOR MIXER.
o MIXING BUSSES -- 7
echo FOLD PROGRAM
INPUT CHANNEL 1 2 1 2 1 2 3 4
M1524 {1 ~ 24 CH)
M1532 (1 ~ 32 CH)
MASTER
CONTROLS OUTPUTS
STRINGS as
ca
NOTE: ECHO AND FB "INSERT OUT"
CAN BE PATCHES TO “EFFECTS IN”
SO THAT ECHO AND FB XLRS CAN
BE USED FOR SUBMIXED FEEDS
TO MAIN HOUST MIXER (OPTIONAL)
EFFECTS
INPUT
FROM
TALKBACK
SWITCHES |
py
Г . — 1.
A4 |
+ |
y |
EFFECT EFFECT 4 EFFECT ERRECT
3
9 0 O ©"
Y Y Y Y
Y
r…---------_-_--_---_—_---->------>-->-->----—----------——
2
o
o
par
MIX MATRIX [у pom Y Рем Y pam ¥ Pom TT PROGRAM OUT
О , © \ GUITARS O
1 1 . | 1 | 1
DRUMS 2
2 >; 7; o SUBMIXED FEEDS TO MAIN
| 3 HOUSE MIXER (OPTIONAL)
| | KEYBOARDS
Lo re LL LA LP
4 4 |
»>— 2 > |
PRE | |
MATRIX MATRIX MATRIX MATRIX
à à À : | MASTER MASTER MASTER MASTER _
à |
| Щ NES TO STAGE MONITOR
L ра AMPS AND SPEAKERS
ii pa 1
A ыы ©
Y Y Y Y MATRIX OUT
PGM
MASTER 1 MASTER 2 MASTER 3 MASTER 4
CHANNEL IL ‚
ere ROTARY
z % O с © XLR CONNECTOR
a 9 = CONTROL
e ” ей <
< = UD a me
= = Ix >
3 & cé x FADER
i BUS
SWITCH
| cabo
Y Y Y Y
ARROWS DEPICT SIGNAL FLOW
In the absence of a dedicated stage monitor mixer, the M1524's/
M1532's foldback and echo busses may be used to obtain a different
monitor mixes. If the echo busses are needed for echo and effects,
and the 2 foldback busses alone are inadequate for monitoring, try
this; feed the house sound system from the M1524/M1532 program
outputs, and use the Mix Matrix to create 4 different stage monitor
mixes. If the house sound is mono, use the program busses for sub-
groups; an outboard 4 : 1 or 4 : 2 mixer can drive the amp(s) &
speaker(s).
USING THE MATRIX TO FEED MULTI-CHANNEL THEATRICAL
SOUND REINFORCEMENT SYSTEM.
r= MIXING BUSSES 5
Echo 5940 PROGRAM
INPUT CHANNEL 1 2 1 2 1 2 3 a
г — — — — — — —
M1524 (1 ~ 24 CH) —]
M1532 (1 ~ 32 CH)
FROM
ECHO BUSSES USED FOR SPECIAL EFFECTS MIXES,
> AND FED TO HOUSE VIA EFFECTS IN TO MATRIX.
ANNOUNCER CAN BE MIXED FROM INPUT CHANNEL
OR FROM JACK BACK MIC AT M1524/M1532.
MASTER . EFFECTS
CONTROLS OUTPUTS INPUT
TALKBACK
ASSIGN
> SWITCHES
EFFECT EFFECT EFFECT EFFECT
IN 1 IN 2 IN 3 IN 4
ANNCUNCER CAN BE MIX FROM
INPUT CHANNEL OR FROM TALK
BACK MIC AT M1524/M1532.
Y
MUSIC MIX ASSIGNED TO FOLDBACK
BUSSES FOR STEREO SPREAD.
MIX MATRIX F Y bm y Рем Y pam” y Pam | PROGRAM OUT
1
A à À
ARN
7
MT
9
MATRIX MATRIX MATRIX MATRIX
MASTER MASTER MASTER MASTER N
1 2 3 4 ия
CHANNEL ———
FADER LJ
MIX ARE BLENDED IN MATRIX.
ONE SCENE IS BEING SET UP WHILE
OTHER IS BEING PLANED.
SCENES FOR LEFT AND RIGHT STEREO
A
à
[тол TT TES
|
Y Y Y Y
MATRIX OUT
PGM PGM PGM PGM
MASTER 1 MASTER 2 MASTER 3 | MASTER 4 KEY
ROTARY :
- - O LEVEL © XLR CONNECTOR
- = > 5 CONTROL
и 9 Im ©
= = À x UNASSIGNED
«< < æ @ |
wl uw wi Ww
FADER
ZA 5 21 & BUS
2 a 8 a | SWITCH
| INDIVIDUAL MICS ARE PANNEL ASSIGNED
| LEFT-RIGHT AT INPUT CHANNELS
AND ASSIGNED TO 1 & Z OR 3 & 4
ALTERNATE A” AND 5 ARROWS DEPICT SIGNAL FLOW
Stage Monitoring
In a stage monitor mixer, it is generally desirable to obtain many
different output mixes. The M1524/M1532, while not specifically
designed for this purpose, can be used advantageously. The 2 foldback
outputs and 2 Echo outputs alone can provide 4 monitor mixes.
Instead, however, these busses and the 4 program busses, can be used
for vocal and instrumental subgroups. While the Echo and FB busses
do not directly appear on the Mix Matrix, those bus outputs can be
patched into the Effects Inputs and assigned to the Matrix. (Of
course, if a performer prefers “‘wet’’ monitors, one or both echo sends
can be used to feed echo or reverb equipment.) This total of 8 sub-
groups can then be combined on the Mix Matrix to achieve 4 distinct
monitor mixes, In addition, a few subgroups can be used directly for
stage monitor feeds, such as a stereo keyboard feed from two of the
program busses, The subgrouped outputs (program, foldback and
echo) can be fed to the main mixing console for incorporation in the
house mix. (By using the Echo and Foldback Insert Outputs to feed
the Effects In, the respective Echo and FB main outputs are free to
feed the house mixer.) The channel Interstage Patch outputs can be
used to feed the preamplified individual channel inputs to the house
mixer, although the cable lengths should be kept short to avoid hum,
USING THE ECHO AND FOLDBACK OUTPUTS PLUS THE MIX MATRIX
FOR 8 MONITOR MIXES. AND EXTERNALLY MIXING THE PROGRAM
OUTPUT (SUBGROUPS) FOR A MONO OR STEREO
~—-MIXING BUSSES ——
FOLD
ECHO BACK PROGRAM
INPUT CHANNEL 1 2 1 2 1 2 3 4
г — — — — — — —
M1524 (1 ~ 24 CH} |]
M1532 (1 - 32 СН)
-
CONTROLS QUTPUTS INPUT
MASTER EFFECTS
FROM
TALKBACK
ASSIGN
SWITCHES
EFFECT
iN 4
Y Y Y y
FOLDBACK
Y
8
TO STAGE MONITOR
AMPS AND SPEAKERS
Y
MIX MATRIX Ty вом Фо рем Y rem Y Pam] PROGRAM OUT
1
PERCUSSION
COMPCETE MIX FOR
MONO HOUSE AMP(S)
+ AND SPEAKERS
Î A
NOTE
ECHO AND FB ARE
BOTH IN “PRE” MODE
|
i v
| OUTBOARD 4:2 OR
|
|
| 4:1 MIXER (PM-180)
Na ATRIX MATRIX MATRIX MATRIX
| MASTER MASTER MASTER MASTER N
2
A
+
TO STAGE MONITOR
CHANNEL
FADER
-—
— ——— — — o — ние — — ——— — — —— | — [em — — — "een ini AH SE E ==: — — — — | — | LD
i
— ee ec EE Je A SE SEI SEE SEE EET EE EE SEE SEE SEND ee —— CE SE CES SE «НН «Наш CE — a a A WE ES EE TIENEN. WTS ET сен
de
L
Y Y y y
L - AMPS AND SPEAKERS
ee
- MATRIX OUT
PGM PGM PGM
MASTER 1 MASTER 2 MASTER 3 | MASTER 4
ROTARY
a a ue & XLR CONNECTOR
a Z 8 2 CONTROL
3 . 8 E 8 ge
> © 3 > :
ОЕ
; e Zi x ADER BUS
© SWITCH
т
| al.
ARROWS DEPICT SIGNAL FLOW
16
Recording
When a multi-track tape recording is being made, the recorder can be
fed directly from the channel Interstage Patch Out jacks. Microphones
and instruments being recorded can be connected to the M1 channel
inputs, and the multi-track recorder line output can be connected to
the M2 channe! inputs {for later remixing). Foldback outputs can be
used for studio monitoring, and any pair of odd and even numbered
program outputs for control room monitoring. On the other hand,
using the headphone output for control room monitoring is advan-
tageous because the Cue bus can then be used to solo inputs and
mixing busses. The parallel A & B program outputs can be used for
making a 4-track recording (PGM Out A) and monitoring it (PGM
Out B). Alternately, one set of program outputs can be used for
recording a “dry” mix (no echo), while the four matrix outputs are
used for monitoring; assigning the effects inputs to the matrix then
allows “wet” monitoring (with echo) and dry recording,
USING THE MIX MATRIX FOR “WET” STUDIO AND/OR
CONTROL ROOM MONITORING WHILE MAKING “DRY”
(NO ECHO/REVERB) RECORDINGS.
MIXING BUSSES —
Echo FOLD PROGRAM
¡INPUT CHANNEL 1 2 1 2 1 2 34
| M1524 {1-24 CH) |
M1532 (1 ~ 32 CH)
Ра REVERB OR DELAY
MASTER
CONTROLS OUTPUTS
2
EFFECTS
ECHO
FROM
TALKBACK
ASSIGN
SWITCHES
EFFECT EFFECT EFFECT EFFECT
IN 1 IN 2 IN 3 IN 4
Y Y Y
FOLDBACK
Oe
O8
MIX MATRIX [y pom Y PGM ¥ Рем Y Рем” | PROGRAM OUT
ST
"DRY" 4-TRACK MIX TO
4- TRACK RECORDER.
à A A A
9 o
A =
SEE ©
Oo ©
—©
MATRIX MATRIX MATRIX » MATRIX
| MASTER MASTER MASTER MASTER N
| 3 4 —
"WET" MONITORS: TO сот
ROOM MONITOR AMPS
™»3 _| AND SPEAKERS.
o
- > | TO STUDIO MONITOR
CHANNEL
FADER
r Y
[Г — то то о ое ео = = == == не ет т ее == == = о = = == = = === === == = = = = = = = — — — —
©
o
a
-
N - о 1 | АМР$ АМО SPEAKERS.
Y N MATRIX OUT
PGM PGM
MASTER 1 MASTER 2 MASTER 3 MASTER 4
ROTARY
O LEVEL © XLR CONNECTOR
x x x x CONTROL
2 = = = me mE
5 5 5 5
FADE
gz 1 = 1 “ii < в BUS
= - = + SWITCH
” cabo
- ARROWS DEPICT SIGNAL FLOW
17
Television Production
The input channel Interstage Patch outputs are useful for “splitting”
preamplified mic signals to feed other mixers, such as a separate
foldback mixer. These patch Qut/In points also may be used for
compressors or, in the case of telephone remote inputs, for special
equalizers,
Program busses can be used for subgroups (e.g., emcee, contestant A,
contestant B, announcer), and the Mix Matrix is then helpful in
creating mix-minus feeds. These are sent to boom mic and camera
operator's 1FB systems (interruptible foldback intercoms), as well as
to contestants or separated groups of people who must not hear
certain portions of the program. The Mix Matrix is also useful in
creating a mono mix of the show for a VTR feed, and a simultaneous
stereo mix when this format is adopted.
For remote production, pre-production, or post-production work, the
Mix Matrix might best be used to feed various VTR's with different
audio mixes, to provide primary and secondary feeds to transmission,
or even to mix a reference tape (mono or stereo cassette). The Effects
Inputs, if not needed for reverb, can be used as auxiliary line inputs
from other studios, tapes, remotes, and so forth.
USING THE MIX MATRIX FOR MULTIPLE ZONE CONCERT SOUND REINFORCEMENT
NOTE: INPUT CHANNELS ASSIGNED
TO PGM 1 ~ 4 ACCORDING TO INPUT
SOURCE.
MIXING BUSSES —]
echo FOLD PROGRAM
INPUT CHANNEL 1 2 1 2 1 2 3 4
г — — — — — — —
M1524 {1 ~ 24 СН)
M1532 (1 ~ 32 CH)
REVAB OR DELAY
E UN DE EN
FROM |
TALKBACK |
ASSIGN NOTE: BUS ASSIGN BUTTONS
SWITCHES | | | ALL SHOWN ASSIGNED TO
“MTRX" RATHER THAN “PGM”.
PGM/MTRX SWITCHES NOT
ACTUALLY SHOWN,
EFFECT EFFECT EFFECT EFFECT
IN 2 N 4
iN (> IN 3 (H™
IN OUT
4 J
MASTER EFFECTS
CONTROLS OUTPUTS INPUT
1 = 1
> ©)
ECHO
2 = = 2
> © ©
; 2 FOLDBACK
TO STAGE MONITOR
AMPS AND SPEAKERS
Y
.. 3
MIX MATRIX Py
Y
Y
PROGRAM OUT
VOCALS 1
PERCUSSION 2
CHANNEL
Г
FADER L—ı_—+—
r Y
3 BOARD MONITOR MIXER
4
HORNS AND STRINGS #73
Te
1
FT PGM |
< , 1
J | 2 2
— 3 4
KEYBOARDS
— 4 —< 4 =
MATRIX MATRIX MATRIX MATRIX
MASTER MASTER MASTER MASTER ZONE 4 7224
1 2 3 â — Ce)
+
|
|
|
|
|
|
|
|
EL
HOUSE
| © €
> > ZONE 1 >
- ——— — ?
4
MATRIX OUT
SUBMIXED FEEDS TO KEY-
MIXED PROGRAM TO AMPLIFI-
ERS AND LOW SPEAKERS FOR
DIFFERENT AREAS OF THE
PGM
MASTER 4 KEY
PGM PGM PGM
MASTER 1 MASTER 2 MASTER 3
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
L
Y Y y Y
ROTARY
9 © LEVEL © XLR CONNECTOR
a 2. z oa CONTROL
5 25 ES a>
e e o o UNASSIGNED
8g DO ag +
$ © 2 FADER
2 w 3 & a i YD BUS
SWITCH
I
| ASSIGNED
ARROWS DEPICT SIGNAL FLOW
19
Theatrical Production
The typical production has several scenes, each with different mic the Mix Matrix (or via an external 4 : 1 mixer) for feed a mono power
setups, and some with special effects. The twin XLR's per input amp. The next scene may be preset on an unused program bus, and
channel may aid in quick changeover of some mic or line inputs. the transition made gradually by using the PGM Master Faders, or
Where the main reinforcement system is monaural, the 4 program quickly using the PGM On/Off switches.
busses can be utilized to mix different scenes, and can be combined in
NOT, CHANNEL
E oMis24 {1 - 24 CH}
M1532 (1 ~ 32 CH)
PI —
1 2 1 2 1 2 3 4
MIX MATRIX IN VIDEO GAME SHOW PRODUCTION
FACILITATES MIX-MINUS MONITOR FEEDS.
[~~ MIXING BUSSES --——
FOLD hl
ECHO BACK PROGRAM
NOTE: PGM/MTRX SWITCH ON EFFECTS INPUT
318 SET TO “PGM”. REVERB ON THE MUSIC BUS,
AND ASSIGNED TO PROGRAM BUS 1 FOR
PGM/MTRX
FROM
TALKBACK
ASSIGN
SWITCHES
REMOTE FEEDS FROM NETWORK,
ANOTHER STUDIO, ETC.
EFFECT
IN 4
MASTER
CONTROLS OUTPUTS
EFFECTS
FOLDBACK
2
>
(©
O8
REVERB
MIX MATRIX [4 PGM Y PGM Y Pom 4 Pom | PROGRAM OUT
NOTE: FOLDBACK 1 & 2 MAY BE USED
FOR ADDITIONAL MIXES, SUCH AS
THE CONTROL ROOM MONITORS OR
OTHER VTR'S & REMOTES.
Y
+
e,
POST
(EM
|
i
T
PRE
CHANNEL —
MATRIX MATRIX MATRIX MATRIX
а | MASTER MASTER MASTER MASTER _ © СОМТЕЗТАМТ “В”
4 .
ISOLATION BOOTH
=
CONTESTANT “A”
ISOLATION BOOTH
ON-STAGE AND AUDIENCE
MONITOR SPEAKERS
|
TO VTR OR TRANSMISStOr
в Ne? POINT FOR LIVE SHOW.
4 Y Y Y MATRIX OUT
PGM PGM PGM PGM
MASTER 1 MASTER 2 MASTER 3 MASTER 4
: : ROTARY
< a (2) 5 © XLR CONNECTOR
: : CONTROL
UNASSIGNED
T FADER |
à
MUSIC
ANNOUNCER
LI; |
EMCEE &
BUS
SWITCH
CONTESTANT “A
CONTESTANT "B
ASSIGNED
Y Y Y Y
ARROWS DEPICT SIGNAL FLOW
In some setups, each scene may be required to drive different
combinations of house speakers; this is where the Mix Matrix is
invaluable. The 4 program busses can be used as performer/music/
effects subgroups, or for different scenes. Effects inputs can be used
for taped effects, and assigned to the matrix. The busses are remixed
or rebalanced in the matrix for a spread across the stage, across
audience fill channels, or into special effects speakers. The Mix Matrix
and/or Program Output On/Off switches may be used to activate the
“effects” speakers on cue.
INPUT CHANNEL
г — — — — —= — —
M1524 {1 - 24 CH}
M1532 {1 - 32 CHi
|
ECHO
1
it may be useful to restrap the mixer for the available 10dB of extra
output gain, especially if ceiling mics or floor-mounted “mic mice”
are used.
THE FLOOR PROGRAM MASTERS ARE USED FOR DIFFERENT
SCENES AND ARE BLENDED FOR THE MONO THEATRE
SOUND SYSTEM WITH ONE CHANNEL OF THE MIX MATRIX,
— MIXING BUSSES ——
FOLD-
BACK PROGRAM
2 1 2 1 2 3 4
MASTER
CONTROLS OUTPUTS
о 1
ECHO
N ( > 1 ©
FOLDBACK
О ( Y ©
NOTE: FOLDBACK CAN BE USED
FOR MUSICIAN MONITORING,
DRESSING ROOM FEEDS, ETC.
|
N
| 2
|
| 3
|
| ‘
|
|
|
|
|
|
|
Id
|
|
|
| |
| r—
PRE
| POST !
| *-0 FB
| — 2
| PRE
||
5 | a
|
|
|
|
|
|
|
|
| CHANNEL
| FADER
|
|
|
|
be
FROM
TALKBACK
ASSIGN
SWITCHES
EFFECTS
INPUT
EFFECT
IN 4
Y
MIX MATRIX [y
PGM
à
|
|
|
|
|
|
1
|
|
|
|
|
MATRIX
MASTER
A
PGM Y
MAT
MASTER
CEE
yr
RIX
PGM Y
LT
Fa
TT
MATRIX
MASTER
3 4
MATRIX
MASTER
\
о
9
— |
PGM
PROGRAM QUT
N
90
<a
3 TO DRESSING ROOM
AMP & SPEAKERS.
{CAN INCLUDE TALKBACK)
k
PGM PGM
MASTER 1 MASTER 2
SCENE 1
SCENE 3
PGM
MASTER 3
1
SCENE 4
PGM
MASTER 4
SCENE 2
te — Î
Y Y Y Y
2
bo:
TO LOBBY AMP AND SPEAKERS
{CAN INCLUDE TALKBACK)
= 1
E.) TO HOUSE AMP. AND SPEAKERS
MATRIX OUT
KEY
ROTARY
O LEVEL © XLR CONNECTOR
CONTROL
UNASSIGNED
FADE |
R BUS
| SWITCH
ASSIGNED
ARROWS DEPICT SIGNAL FLOW
20
21
MAINTENANCE
Panel and Cabinet Cleaning
The Black panels should be cleaned with a damp sponge.
Stubborn soil can be removed with a mild detergent solution,
such as dishwashing detergent. Strong detergents or chemical
solvents may damage the plastic fittings.
The wood veneer cabinet will retain its beautiful finish with
very little care. When it looks dull or soiled, apply any liquid
or paste furniture polish and buff with a soft cloth; aerosols
should be avoided because the solvents may attack adjacent
portions of the mixer, especially the meter faces.
Spare Parts
The M1524/M 1532 is built for high reliability, but accidents
and failures may occur. A spare circuit card or power supply
can save the show in just seconds. We recommend that in all
critical applications, one spare of each major circuit card, and
one spare power supply be kept handy. These items are
available through your Yamaha dealer.
Fuse Replacement
The power supply is fitted with a fuse holder for the AC line.
The fuse should be replaced with one of the identical value
and type. If a fuse continues to fail, do not install a higher
value fuse; find the cause of the failures and correct it.
Secondary fuses are located inside the supply. In the event
the problem cannot be located, see the “Service” directions
at the end of this section.
Meter Lamp Replacement
WARNING: There are no user-serviceable parts inside the
mixer. Only qualified service personnel should
attempt to open the unit for any purpose.
Lethan voltages are present inside the mixer,
and the AC line cord (or power supply umbili-
cal cable) should be disconnected prior to
opening it.
Two meter lamps are provided for each VU meter, one on
either side. A lamp may be removed by pulling its lamp
holder out of the rubber grommet, replacing the lamp, and
reinserting the lamp into the grommet. Access to the meters
is obtained by removing the two screws from the top of the
meter pod and the four screws from rear panel, as shown in
the illustration, and tilting the meter pod backward.
Make sure the string supports are in place so the meter pod
does not tilt all the way backward.
e HOW TO OPEN METER POD
Remove screws (D through ® from the rear panel and
screws 6) and (6) from the top of the meter pod, and tilt
the meter pod backward.
Rear panel
String support Meter pod
e HOW TO REPLACE METER LAMP
To replace the VU meter lamp, pull the lamp holder out of
the rubber grommet and reinsert the replacing lamp into the
grommet.
Meter panel
Meter sub panel
Meter block
Module Removal and Replacement
It is recommended that power be shut off and the AC cord
(or power supply umbilical) be unplugged prior to removing
or replacing a module. The meter pod must first be tilted
back, (see the instructions in the previous paragraph on
meter lamp replacement). Also, lift off the wrist pad at the
front edge of the console by pulling straight up on it.
The screws which secure the top and bottom of each module
to the mainframe are now accessible. Loosen the top screw,
and remove the bottom screw (near the CUE button) from
the module you wish to lift out of the mixer.
On the back of the module, you will find 1 or 2 edge con-
nectors (depending on the type of module); unplug these
connectors from the module's circuit card. NOTE THE
LOCATION FROM WHICH EACH CONNECTOR IS
REMOVED FOR EASE OF FUTURE REPLACEMENT.
— Then slowly lift the module up and foward. You will find
from 2 to 6 additional connectors along the bottom of the
module. Unplug these and the module may now be com-
pletely removed from the console.
Replacement follows the inverse order of removal. Be sure to
properly match and firmly mate the connectors. The mixer
may be operated minus one or more modules if repairs are
being made, but the meter pod should be closed for safety.
e HOW TO REMOVE MODULE
a. Turn off the power switch and unplug the AC cord.
b. Remove the arm rest from the unit.
c. Remove screws (1) and @ of the module to be removed.
d. Unplug the edge connectors connected to the rear panel
side and take out the module. With the module thus taken
out, module check and its parts replacement are possible.
- >
friar
y ===" 2 тт
22
23
GENERAL SPECIFICATIONS,
INPUT/ OUTPUT SPECIFICATIONS
M1524/M1532
FREQUENCY RESPONSE +0, —3dB, 20Hz to 20kHz;
TOTAL HARMONIC
DISTORTION {THD)*
+0, —0.5dB, 30Hz to 15kHz,
Less than 0.5%, 0+10dB, 20Hz
to 20kHz;
Less than 0.1%, €+20dB, 50Hz
to 20kHz,
HIGH PASS FILTER
TALKBACK
HUM AND NOISE*
(20Hz to 20kHz,
150 ohm-source)
(Input Selector set
at “—60”) k
—128dBm Equivalent input noise
(EIN);
—95dB residual output noise
with all faders down.
—70dB PROGRAM QUT; Master
fader at nominal level and al
-- Input faders down. =
( " )
—64dB PROGRAM OUT (68dB
S/N}; Master fader and one Input
fader at nominal level.
—70dB MATRIX OUT; Matrix
Mix and Master controls at
maximum, one PGM Master
Fader at nominal level, and
all input Faders down.
—64dB MATRIX OUT {68dB
S/N); Matrix mix and Master
controls at maximum, one PGM
Master Fader and one input
Fader at nominal level.
—67dB FB or ECHO OUT;
Master level control at nominal
level and all FB or ECHO mix
controls at minimum level,
{Pre/Post Sw, @ PRE.)
—64dB FB or ECHO OUT (68dB
S/N}; Master level control and
one FB or ECHO mix control at
nominal level. {Pre/Post Sw.
@ PRE.)
18dB/octave roll off below 80Hz.
Mic or line input XLR, preamp,
level control, push-to-talk switch,
& assign buttons for Pgm/Mtrx
busses, FB & Echo busses; TB
Qut On/Off switch on front
panel, TB Out +4/—50dB level
switch on rear panel.
TEST OSCILLATOR
Built-in generator of either 1kHz
sine wave (1% THD) or pink
noise, +4dB nominal level
internally (switchable to —60dB
at TB Out). Signal slates onto
PGM/MTRX busses, FB & ECHO
busses, and T8 Qut via Talkback
system.
PHANTOM POWER For remote powering of con-
denser microphones, +48V DC
can be switched on via a rear
panel Master phantom power
switch (40V for UL & CSA
approved models). When an
individual input Phantom
switch is also On, voltage is
applied to pins 2 and 3 of that
input's XLR connector via a
pair of 6.8k§2 isolation/current-
limiting resistors that feed each
balanced input transformer.
INPUTS TO MIXER
(eas CH1 ~CH24
M1632 CH1 ~ CH32
64 x Channel In {32 M1, 32 M2,
both mic/line).
8 x Sub In (2 2a. Submixer Input
to PGM, FB & ECHO busses).
4 x Effects In {Auxiliary program
input and effects return).
1 x Talkback (Mic/Line in).
32 x Channel Insert In {patch in).
8 x Master In (2 ea. for PGM, FB
8: ECHO).
FINISH Black painted panels, rosewood
veneer cabinet, color coded
knobs.
DIMENSIONS 55-13/16"x36-11/16"x14-9/16""
WxDxH) {(1418mmx932mmx 370mm)
WEIGHT M1524 213 Ibs ( 97kg)
M1532 231 Ibs {105kg)
MIXING BUSSES
MIXER OUTPUTS
4 x Main Program (L&R);
4 x Matrix; 2 x Foldback;
2 x Echo; 1 x Cue (solo;preview).
8 x Program {parallel A & В
banks of 4); 4 x Matrix; 2 x
Foldback; 2 x Echo; 2 x Head-
phone (one 2-channel jack};
32 x Channel Insert; 8 x Master
Out (4 PGM/2 FB/2 ECHO).
POWER REQUIREMENTS U.S. & Canadian Models: 120V 180W
General Model: 240V 190W, Selectable
(110/120/220/240V)
POWER SUPPLY PW1500B
POWER REQUIREMENTS U.S. & Canadian Models:120V, 50/60Hz
General model:
110, 120, 220 or 240V, 50/C0Hz
POWER CONSUMPTION U.S. & Canadian Models: 180W
Canadian Model: 150VA
General Model: 190W
DIMENSIONS 18-7/8"x13-3/16"x5-1/2"
(Wx D x H) (480x335x140mm)
WEIGHT 21.2 Ibs (9.6kg)
MAXIMUM VOLTAGE PROGRAM $84ds; Channel In CROSSTALK —B60dB @tkHz, adjacent inputs;
GAIN (Input Selectors to the correspond- —60dB @1kHz, input to output.
set at “—60dB, where ing output. VU METERS 8 large illuminated meters, four
applicable) FB 8: ECHO** 94dB; Channel In for PGM 1—4 and four for MTRX
to FB/ECHO 1—4; 3 smaller meters switchable
Out. for FB 1 & 2 or ECHO 1 & 2,
EFFECTS 20dB; Effects In and TB or CUE {0 VU = +4dBm).
to PGM Qut. PEAK INDICATORS 2 LEDs built into each input
SUB IN 10dB; Sub In to module and one in each VU
PGM Out. meter, Input LEDs are 2-colors;
EQUALIZATION LOW 50, 100, 200, 350, green turns On when post-input
(+15dB Maximum)
500Hz, shelving,
LOW MID 250, 350,500, 700,
1000Hz, peaking,
HIGH MID 1.2, 2, 3.5, 5, 7kHz,
peaking.
HIGH 10kHz, shelving.
selector signal reaches or exceeds
13dB below clipping, red at 3dB
below clipping. VU meter LEDs
turn on 10dB below clipping.
INPUT SPECIFICATIONS
ACTUAL FOR INPUT LEVEL TOR
CONNECTION | LEVEL LOAD USE WITH | SENSITIVITY ** eo dia
SWITCH | IMPEDANCE! NOMINAL NOMINAL MAX BEFORE CLIP
—60dB 9009 —80dB (0.08mV) | —60dB (0.78mV) | —30dB (25mV)
INPUT —50dB 900% | 50N to 250% | —70d8 (0.25mV) | —50dB (2.5mV) —20dB (78mV)
CHANNELS —35dB 9002 mics or 6002 | —55dB (1.4mV) | —35dB (14mV) —5d8 (436mV) XLR-3:31
(1-24) or —20dB 1k82 line level —40d8 (7.8mV} | —20dB (78mv) +10dB (2.45V)
(1-32) —10dB 1.3k92 sources —30dB (24. 5mV} | —10d8 (245mV)} +20d8 (7.75V)
+ 4dB 1,3k82 —16dB (123mV) | + 4dB (1.23V) +24dB (12.3V)
EFFECTS IN -
(14) 5k 6000 lines | —16dB (123mV) | + 4dB (1.23V) +24d8B (12.3V) XLR-3-31
SUB IN PGM
(1-4)
rec FB ka 6002 lines |-— 6de (388mV) | + 4dB (1.23V) +24dB (12.3V) XLR-3-31
SUB IN ECHO
(1,2)
TB IN —50dB 8002 o los —70de (0.25mV) | —50de (2.5mV) —20d8 (78mV) XLR-3:31
+ 4dB 5kQ crop! —16d8 (123mV) | + 4dB (1.23V) +24dB (12.3V)
60022 lines
CH. INSERT 10kQ 600% lines | —26d8 (39mV) | — 6dB (388mV) | +24dB (12.3V) Phone jack
(1-24) (1-32)
PGM INSERT
(1—4)
a yoo 10k 600% lines | —16dB (123mV) | — 6dB (388mV) | +24dB (12.3V) Phone jack
ECHO INSERT
(1,2)
QUTPUT SPECIFICATIONS
CONNECTION LEVEL | ACTUAL SOURCE | FOR USE WITH OUTPUT LEVEL CONNECTOR
SWITCH IMPEDANCE NOMINAL NOMINAL | MAX. BEFORE CLIP | IN MIXER**
PGM OUT (1—4)***
MTRX OUT (1-4)
1508 009 1 + 4dB (1.23V +24dB (12.3V XLR-3-32
FB OUT (1, 2) 50 6 ines B (1.23V] B (12.3V)
ECHO OUT (1, 2)
PGM INSERT OUT (1—4)
FB INSERT OUT (1,2)
ECHO INSERT OUT (1,2) 6002 10kQ lines — 6dB (388mV) | +24dB (12.3V) Phone jack
CH. INSERT OUT
(1-24) (1-32)
252 89 phones; — 6dB (388mV); + 4dB (1.23V); .
HEADPHONES 6002 lines + 8dB {1.95V) +18de (6.16V) TAS phone jack
+ AdB + 4dB (1.23V) +24dB (12.3V)
TALKBACK OUT —50dB 1500 600%? lines _50dB {2 5mV) —30dB (24 5mV) XLR-3-32
* In these specifications, when dB represents a specific voltage, OdB is referenced to 0.775 volts RMS.
** Sensitivity is the lowest level that will produce an output of +4dB (1.23 V), or the nominal output level when the unit is set to maximum gain.
*** All XLR connectors are floating (balanced) and transformer-isolated. Phone jacks are unbalanced.
т" “A” and “B" Program outputs are parallel wired; combined load on both connectors of a given bus output should not be less than the
nominal 600 ohms.
All specifications subject to change without notice or obligation.
* Hum and noise are measured with a 6dB/octave filter
012.47kHz; equivalent to a 20kHz filter with infinite
dB/octave attenuation.
Maximum voltage gain (Echo) measured with channel
fader at nominal level.
* *
BLOCK DIAGRAM
NO
“ac ai
Г 4409 20081; XULA OHO3 84 ‚ИО,
, vezZzı 3mMZ1Z2ıwEZI
(BP¥+1
Fito oon LCT FE I wsmeom | НЦ
!
Г a a OR |
| 9 9 [uaisviw ГОНЭЗ] |
(Pos) онэз 3 + Ne ur: Wns + NO EC |
LANO OH < of mn]
009: 008 | >, | ,
ЕЕ
| 1no||, == Alm ! 350 ya
Wid ($) L 189-7 LHISNI | OHO3 |
(8Pp+) |
2 ino 84 1 JI1SIW € 93 |
= $ 18Pp+/06-1
NI MOVYOHWTYL
- [SR 1777]
A | 7 | м 1531831590183] |
{BP +} ; L
LLO 84 | 49 JT
009-008 0 iv 10m ans dNO XHLN | #0 ‘ |
Av 138 3n5 ко зло? © & | 10 |
; 6 I [BPS-) |
-) LY3ISNI | 84
| QE _——
1
<q
PY +7/06-)
ino 81 I i
| Les
al JETER es
y Wod I 009.009 j 0
OPE) y e [ | = vee — L -
$ LNO XULW E y — | MalsvW b XgiW E
009 ' 009 - + |
t@P++) e | =
€ 10 XuLW e | M31SVW € MLN ЕН v
180% +) e
2 10 XBLW 2 HALSVIN Z XYLM |
4 |
6 (8Pp+)
N! 5193443
ГаР+ +) Е
LLNO XBLW SE |
{J
RA
rez
XML #2 Но
Е 10
a (t240Z£) JIN0ON LNdNI ZW SEHD
t@be+1
$ 1NO WOd , = t
v CE | HILSYW b W9d | ? — — — == — — = — — — ——— = — — a —— IW
LL ] I q
a —s e Buiajeus zHOOS 'OSE‘OOZ‘OO1‘OS: MOD
(8094) 03 and Buiybad 2HODOI*00¿'005'OE€ "062: IW-07
£ 1NnO W9d | | о Вытева THNL NG NC CNZ'AZ 1 OIN- IH |
| Fs SUIAIOVE 2HXO)- ног зола гар» +—09-)
| HIISYW € WOd | 03 1506 ¥3z17vnoa on a 1aNI
L у 23 1809 N
i | ! o in |
03 Jud '
A oo ; |
| [13431 1ndNt] | I
sori VY TTT aes || CL 1 SES - 3
| MILSYW 2 W9d | § 4 i
Г |
la dv но’
TTT тт == == == = == = = A E |
— - 2/04 014 :MILS YW- 4 ve
"Ino Nod | somo FIs 1 ] | [Nwd A 330 O 440
y Noo <a — | гов зан! | 440/NO WD |
H To ; | ‹@Р9-) (8p9-) |
4
| | NdZizive 2 | 100 03 Aol (Ha
1N0 NE OHD3 Bt - WOd- { HOlVd 39V1SMI1N: |
| SISSNE XIW | TINNVHD LNGNI HINO WOLNYHE Wo) I
MVId MT
24
LEVEL DIAGRAM
+30
(+24) Clipping Level
ED
+20 —— (+21) т Red L
|
| (+13) 7 Peok LED
|
(+11) Green LED
+0 — + | —— _ _____PHONES OUT
— TB IN EFFECTS IN ге SUB IN | MTRX CUE F8 /EcHO OUT MTRX OUT j y 600N (+8)
_(+4) „= " — " —— — i \
_ == | / \
— 1 a * | \
_ \ : SUE BS, 1 | \_ PHONES OUT
1 PGM MIX BUSSES | 8N (-6)
-10 | \ !
1 \ |
\ \ !
в Le |
\ !
JA vd
7 / \ 1
1 wd
' / i
-40 \ ;
-50 / Lo T8 OUT (-50)
-60
PEAK
— (€) rea MIX BUSSES
PATCH —æ® Green PGM
IN/OUT (- 6) wore 6)
OO
7
J’ |
Nominal A
FB/ECHO + № PEAK
IN/OUT (-6) | Na :
\/
QO+p/ecHo --
MASTER
$ su > Ч FB/ECHO
J OUT
Nominal Nominol
CUE
J \ vu Dre
PGM
EFFECTS IN MTRX
Г > _— Y
EFFECTS IN IE [=> Sade < 1 MASTER |
O ? MTRX Ручной Nomina! > ol MTRX
Nominal LL [> 3l ouT
Nominal
PHONES
LEVEL
À es
25
LA
>
TÉ пе ол
SERVICE
The M1524/M1532 mixer 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 dealer.
ооо
o
обе
CLT
Ue NREL Ae Ret FL FR pe WR ATT
CIF TE E + Partted is Japan

advertisement

Related manuals

Download PDF

advertisement