Yamaha MQ802 Owner's manual

Yamaha MQ802 Owner's manual
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The Yamaha MQ-Series mixers are designed . ‚ ET "1 À ml
for use in portable or fixed installation sound 2 Y ‘
reinforcement systems. All three models in the у a
series have stereo program outputs, and differ
only in the number of input channels: the
MOS02 has 8, the MO1202 has 12, and the MO1602
has 16 input channels. Each channel has a pair of switch-
selectable inputs, one XLR-type connector and one phone jack,
either of which is usable with mic or line level sources. There are 4 mixing busses:
program left and right, echo, and foldback. The program outputs are both equipped
with 9-band graphic equalizers, useful for increasing the available sound system gain
before feedback, and for making overall tonal adjustments to the program.
MO-Series mixers are ideal for use in cabarets or nightclubs, as well as for concerts,
school productions, trade shows, and small theatrical productions. Because the mixing
busses all have sub-inputs, two or more mixers can be linked to obtain more input
channels and sub-group capability.
The mixers are designed for easy interface with other equipment. Each channel input
has both a low impedance XLR-type connector and a high impedance phone jack, each
of which is switchable for nominal levels from —60 to +4dB (0dB ref. 0.775V rms). The
program outputs are brought to both balanced XLR-type connectors and unbalanced
phone jacks, with +18dB maximum level. And the echo/effects output is brought to two
phone jacks, providing a choice of +4dB and —20dB nominal levels. Auxiliary inputs are
able to accept nominal levels from —32dB to +4dB. Thanks to this added flexibility
built into the mixers, external pads and transformers are seldom required.
Other features include dB-calibrated faders, bar graph style peak-indicating meters on the
outputs, and peak LEDs on the inputs. Each input channel also has 4-band equalization.
Internally the mixers offer the convenience of modular plug-in circuitry, and outside a
solid front panel adds to. strength and durability. To take full advantage of your MQ-
Series mixer, please read this manual carefully.
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CONTENTS
OPERATING INSTRUCTIONS-FRONT PANEL
fnputChannels. . . ....................... 1
Output Section ....ew..éerernaoorovoooadararda 3
Auxiliary Input Section . . . . ................ 4
Meters .....Qoxeooroererrosroeoroeroeooso roca 4
INSTALLATION AND REAR PANEL FEATURES
Rear Panel Features ....... J ree 5
Hook-up Cables and Hum Avoidance ........... 6
More About the Theory of Grounding .......... 7
Mixer Placement... ....222 110 0 4 10 0 0 1 a 0 00 0 7
APPLICATIONS
The MQ1602 as the Main Mixer in
a Club/Cabaret Sound System, . . ............ 8
Linking the MQ802 and MQ1202 to
Obtain 20 Input Channels ................. 9
Using the MQ802 as a Keyboard Mixer .......... 10
Using an MO-Series Mixer for Occasional
Mult-Track Recording . . ........... ee eee. 11
More About the Graphic Equalizers ............ 12
SPECIFICATIONS
General Specifications . ................... 13
Input/Output Specifications . . . .............. 14
Equalizer Characteristics ........... eee. 14
Block Diagram .. 1.112101 000 0 1 1 1 0 0 a 0 1 a 0 0 0 15
Level Diagram ....eooocooerdonoroneneo noo 16
HOW TO CONNECT MULTI-CONNECTOR (ACCESSORY)
8 CABLE ....oñ.omenradooooanaocaoreno oa oa 17
MAINTENANCE 8: SERVICE. . . . .............. 17
WARNING: TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.
THERE ARE NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO A
QUALIFIED SOUND EQUIPMENT TECHNI-
CIAN.
OPERATING INSTRUCTIONS-FRONT PANEL
INPUT CHANNELS
16
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NOTE: It is not necessary that you be able to read a block diagram in order to understand
and use this mixer. However, the block diagram on page 15 can be thought of as a
“road map” to the mixer, one that can give you an overview as you read the
following descriptions. |
O CHANNEL FADER
The Fader continuously varies the channel output level to the Left and Right program
mixing busses. It also affects the channel's Echo bus send, but not Foldback. The nominal
setting is “—6” position, as indicated by an arrow on the dB-calibrated scale. When the
input signal is equal to the level set with the Input Level switch, setting the Fader at
nominal position applies the optimum signal level to the mixing busses; if the Master Fader
is also at nominal, the program output level will be +4dB.
O PAN POT
This rotary control assigns the channel Fader output to the stereo program mix busses,
anywhere from all the way Left to all the way Right. Centering the Pan pot places the
signal equally in both busses (the acoustic “image” is centered); at this point, each bus is
fed a signal 3dB below the maximum full-Left or full-Right panned level. This ensures that
the combined stereo output power remains constant in any Pan pot position.
O FOLDBACK MIX LEVEL CONTROL (FOLDBACK SEND LEVEL)
The channel's FB control adjusts the amount of signal applied from the channel to the
Foldback mixing bus. Since the FB send is pre-Fader and pre-Equalizer, Fader and EQ
adjustments do not affect the foldback mix. FB is useful for driving stage monitor
amplifiers and speakers, but may be used for effects, remote feeds, etc. Nominal setting is
approximately 8 to 9 on the control scale, although lower settings are often used, as
required by the mix.
O ECHO MIX LEVEL CONTROL (ECHO SEND LEVEL)
The channel's Echo control adjusts the amount of signal applied from the channel to the
Echo mixing bus. Since the Echo send is post-Fader and post-Equalizer, Fader and EQ
adjustments also affect the echo mix. The echo mix can be used to drive a variety of exter-
nal time delay units, including echo chambers, reverb, and analog or digital delay lines. It
also may be used to drive special effects devices such as phasers and flangers. Nominal
setting is approximately 8 to 9 on the control scale, although lower settings are often used,
as required by the mix. |
O EQUALIZER (EO)
Each input channel Equalizer can be adjusted for up to 15dB of boost or cut at four
different frequency ranges. The controls are calibrated in dB, centering them at the “0”
position establishes flat audio response.
The LOW control provides shelving type equalization with a knee at 100Hz,
The LO MID control provides peaking type equalization centered at 500Hz.
The HI MID control provides peaking type equalization centered at 3kHz.
The HIGH control provides shelving type equalization with a knee at 10kHz.
In many mixes, EQ is used to modify tonal characteristics for better separation (i.e., given
similar-sounding instruments on two channels, you might boost one channel's HI MID
control and boost the other's HIGH 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 bass 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 will not drastically change the instrument's
sound. -
O INPUT LEVEL SWITCH AND LED PEAK
INDICATOR |
The Input Level switch changes the input sensitivity to
accommodate nominal input levels of —60, —50, —35, —20;
—10 or +4dB. Respectively, these levels correspond to low
level dynamic or ribbon mics, medium and high level con-
denser mics, preamplified electric instruments, and low or
high line level audio processing of mixing equipment.
Adjacent to the switch is a red LED indicator that helps the
operator determine the proper Input Level setting. The LED
turns On before the preamplified input signal is high enough
to cause overdrive distortion (i.e., whenever the level exceeds
3dB below clipping).
To establish the Input Level switch setting that yields the
best combination of maximum headroom and minimum
noise characteristics, first set the switch to +4dB 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 red LED flashes only 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).
NOTE: The input Fader has no effect on this LED. The
LED monitors the level after the Input Level switch,
but before the Fader.
O INPUT SELECTOR PUSHBUTTON (A-B)
Two separate inputs are provided for each channel, a low-
impedance XLR-type connector (input “A”) and a high
impedance phone jack (input B”). The Input Selector push-
button determines which of the channel's two XLR-type
connectors, A or B, actually supplies the audio signal to the
channel. (The Input Level switch sets the sensitivity of both
inputs.) |
To select the XLR-type connector, the button should be up;
to select the phone jack, press the button down.
OUTPUT SECTION
GRAPHIC EQUALIZER LEFT
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© PGM L AND PGM R MASTER FADERS
These Master Faders adjust the overall level of their
respective Left and Right Program mixing busses prior to
feeding the Program outputs. The Master Faders control
all signals assigned by the channel Pan controls, Aux In
Pan controls and Program Sub Inputs. The nominal
Fader setting is “—6dB”, as indicated by an arrow on the
control scale.
@ FOLDBACK MASTER FADER
This Master Fader adjusts the overall level of the Fold-
back mix bus, including all signals from the channel FB
mix controls and FB Sub Inputs, prior to feeding the
Foldback output. The nominal Fader setting is “—6edB”,
as indicated by an arrow on the control scale.
O ECHO MASTER FADER
This Master Fader adjusts the overall level of the Echo
mix bus, including all signals from the channel Echo
send controls and Echo Sub Inputs, prior to feeding the
Echo output. The nominal Fader setting is “—6dB”, as
indicated by an arrow on the control scale.
O HEADPHONE LEVEL CONTROL
This rotary control simultaneously adjusts the volume in
the left and right earpieces of any stereo headphones
which are plugged into the Headphone jack. The phones
are fed the stereo program, although headphone volume
is independent of the level set with the PGM Master
Faders.
NOTE: The Headphone output, not illustrated here, is
— a standard 1/4” (6.3 mm) stereo phone jack on
the right front edge of the mixer. It will drive
conventional 80 or higher impedance stereo
‘phones. This jack also can be used to drive a
power amplifier and monitor speakers (a
splitter cable would be necessary to drive the
left and right amplifiers from the stereo jack).
O GRAPHIC EQUALIZERS
The program outputs each have a 9-band graphic equali-
zer with slider-type controls whose position visually
approximates the frequency response curve that is being
created (hence, the term “graphic”). These sliders func-
tion much like the LO MID and HI MID channel EQ,
except they operate over narrower bands centered at 60,
120, 250, 500, 1k, 2k, 4k, 8k, and 16kHz. The sliders
provide up to 12dB of boost or cut, and have a detent at
“0” positon so they are easier to set for “flat” response.
Graphic equalization can be used to control acoustic
feedback, thus increasing the available gain in a sound
system, or to add desired tonal color to the program. At
extreme settings, graphic EQ can produce unusual
effects. The FB and Echo outputs are not affected, so
EQ corrections on the “house” sound will not change
the sound fed to the stage monitors or effects devices.
The graphic equalization can be heard in the Headphone
output.
METERS
-20 15 10 7 5 3 2 101 2 3 5 8+
AUXILIARY INPUT SECTION
The two Auxiliary Inputs may be used as line inputs for a
stereo program or two different mono sources. Alternately,
they may be used to “return” to the program mix any echo/
reverb or other effects that were “sent” out of the mixer's
echo or foldback outputs. Each Aux Input (1 and 2) is
provided with a set of Aux In Level and Aux In Pan controls.
@ AUX IN LEVEL (1 8: 2) CONTROLS
These rotary controls adjust the level of the incoming signal
from their corresponding Aux Input jacks.
NOTE: The nominal sensitivity of each Aux Input is
—20dB. However, turning down this control permits
higher level sources to be accommodated (+4dB
nominal); conversely, turning up the control in-
creases sensitivity for lower level sources (—32dB
nominal).
O AUX PAN (18: 2) CONTROLS
‘These two controls adjust the assignment of their respec-
tive Aux Inputs to the Left and Right PGM mixing busses. If
the two inputs are used to accept a stereo program, pan one
control fully clockwise (CW) and the other fully counter-
clockwise (CCW).
PGMR |:
O PEAK-INDICATING BAR GRAPH METERS
A pair of horizontal fluorescent meters display the peak
output level. Levels from —20dB to —1dB are indicated in
blue-green color, and levels of OdB to +8dB are indicated
in red, ensuring good visibility; a gradual decay allows
operator to clearly detect very brief peaks. The mix level
should be set so the meters occasionally reach full scale,
with typical peaks from 0dB to +5dB.
O PGM L/FB OUTPUT METER SWITCH
This switch determines whether the upper meter displays
the Left Program output or the Foldback output level.
O PGM R/ECHO OUTPUT METER SWITCH
This switch determines whether the lower meter displays
the Right Program output or the Echo output level.
INSTALLATION AND REAR PANEL FEATURES
REAR PANEL FEATURES
o — € OC
NOTE: All XLR-type connectors are wired as follows: pin 2 = signal high, pin 3 = signal low, pin 1 = shield. The MQ802 and
MQ1202 are nearly identical, except for the number of input connectors and multi-pin connectors.
© AC POWER SWITCH
@ AC VOLTAGE SELECTOR
These switches select the appropriate AC power line voltage
(100, 120, 220 or 240V) according to the area where the
mixer is being used. Be sure to set the selector to your local
line voltage before switching on power to the mixer.
© ECHO OUTPUTS (—20 and +4) |
These post Echo Fader outputs are unbalanced 1/4”
(6.3mm) standard phone jacks, both carrying the same
signal. The difference is that the lower jack has a +4dB
(1.23V rms) nominal level, and the upper jack is —20dB
(78mV rms). The actual source impedance of both jacks is
13082, so they will drive 60082 or higher impedance loads,
including almost all echo and reverb units (except those units |
meant for connection to a guitar pickup). If echo or other
effects are not required, Echo Out may be used for foldback
to stage or dressing rooms, or for making a mono tape
recording. |
O FB OUTPUT
This post Foldback Master Fader output is an unbalanced
1/4" (6.3 mm) standard phone jack with +4d8 (1.23V rms)
nominal level. The actual source impedance is 13082, so the
output will drive 600% or higher impedance loads, including
virtually all professional graphic equalizers, electronic cross-
overs, and power amplifiers. ;
© PGM OUT L & R OUTPUTS
The Left and Right Program outputs each have two connec-
tors, a male XLR-type connector and a standard phone jack.
The post PGM L and PGM R Master Fader signal is fed to the
XLR-type connectors via transformers, so the outpuís are
balanced (actually floating); the phone jacks are unbalanced.
The nominal level of all PGM outputs is +4dB (1.23V rms),
and the actual source impedance is 1302, which means these
outputs will drive 800£2 or higher impedance loads, including
virtually all professional graphic equalizers, electronic cross-
overs, power amplifiers, and tape recorders.
® CHANNEL INPUTS (x 8, 12 or 16)
Each channel is equipped with both an unbalanced standard
1/4” (6.3 mm) phone jack and a balanced, transformer-
isolated female XLR-type connector. The active connector,
XLR-type connector or phone jack, is determined with the
channel's front panel Input Selector switch. The active input
applies nomina! —60dB (0.78 mV rms) to +4dB (1.23V rms)
signals to the respective input channels; nominal level is set
with the Input Level switch.
The XLR-type connectors are low impedance (actual load
— varies with Input Level setting from 8000 to 2.6k£2). The
XLR-type connectors therefore accommodate nominal 50 to
25082 (low impedance) professional microphones as well as
6002 line level sources. The phone jacks are high impedance
(actual load varies from 25k{2 to 54k{2), and thus accom-
modate nominal 50€ to 50kQ microphones we well as 600
or higher impedance lines.
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@ AUX INPUTS (1 and 2)
These standard 1/4” (6.3 mm) phone jacks are unbalanced
inputs that apply signal to the Left and/or Right Program
mixing busses via the respective Aux 1 & 2 Level controls
and Pan Pots. Actual input impedance is 25k%2, and nominal
level is —20dB (78mV rms), although the Aux Level control
can be adjusted for nominal levels as low as —32dB or as high
as +4dB. The inputs are intended for nominal 600% or higher
impedance sources, such as the return from echo or reverb
devices, the output of a tape recorder, or the line output of
another mixer.
© SUB IN JACKS (PGM L, PGM R, FB, ECHO)
NOTE: While the Sub Inputs feed different busses (PGM L,
PGM R, FB, and ECHO), the functions are essential-
ly identical for all Sub In jacks.
These standard 1/4" (6.3 mm) phone jacks are unbalanced
inputs that apply a nominal +4dB (1.23V rms) signal to the
respective Program, Foldback and Echo mix busses via
internal isolation/attenuation pads. Actual input impedance
is 1k02, and the inputs are intended for nominal 60092
sources. |
‚Sub Inputs may be used for linking the program, foldback
and/or echo outputs of another mixer to this MQ mixer for
expansion of the mixing system, or for applying any suitable
line-level source(s) to the mixer subject only to the mixer's
Master Faders. A common use of the PGM Sub Inputs, for
example, is to play back a stereo program from a tape
recorder (for set up or during intermission) without “using
up” input channels.
O AC POWER CORD
This AC power cord (grounded type) connects to suitable 50
or 60Hz AC mains. Refer to the mixer specifications (page
13), or the label on the mixer's rear panel, for specific line
voltage and power requirements. |
The mixer should be AC grounded for safety and for opti-
mum shielding against noise; a 3-conductor power cable is
provided for this purpose. If a 3-wire AC outlet is not avail-
able, or if there is any chance the AC 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 unless they are insulated by a
length of PVC (plastic) pipe or a water meter. (An electrical
wire bypasses some water meters, supplying ground continui-
ty 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 1.5 meters (5 feet) of
pipe; alternately, use a chemical type ground rod.
O MULTI-PIN “SNAKE” CONNECTOR
This connector (available only on the MQ1602) permits
convenient input of multiple microphone and line sources
from the stage via a “snake”: a compound cable that carriés
multiple transmission lines from a multi-input junction box
on stage. This capability eliminates the mess and inconveni-
ence of having to run individual lines from each source to the
mixer inputs.
Hook-up Cables and Hum Avoidance
The mixer's primary input and output circuits are equipped
with transformer-isolated XLR-type connectors and phone
jacks. When the XLR-type connectors are used with the
appropriate 2-conductor shielded cables (e.g., standard
microphone cables), these circuits afford the optimum pro-
tection against hum, buzz, and other noise pick-up.
The XLR-type 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 micro-
phones are wired with pins 2 and 3 reversed; generally this
will cause no problem, other than a polarity reversal.
However, if such a piece of equipment uses an XLR-type
connector for an unbalanced input, or if an MQ-Series
mixer's XLR-type connector is connected, via an adapter
cable to an unbalanced phone jack, the “high” side of the
audio circuit could be grounded. In this case, invert the
wiring of pins 2 and 3 in one XLR-type connector of the
interconnecting cable (or use a suitable polarity-reversal
adapter). Regardless of XLR-type connector polarity, if hum
is encountered try cutting the shield connection at one end
of the cable.
All phone jacks (except the stereo headphone jack) are
intended for use with standard tip/sleeve 1/4" (6.3 mm)
phone plugs and single-conductor shielded cable. Hum reduc-
tion should not be attempted by cutting the shield on these
cables. Instead, restrict unbalanced cables to about 10 feet
(3 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, typically the mixer. Remember, break-
ing 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 opera-
tion, 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): GROUND-
ING 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 (or “earth” ground). Ground loops tend to induce
hum and allow noise to develop in an audio system. In severe
instances, equipment may begin to oscillated 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-type connector 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 CON-
FIRMING THAT THE VOLTAGE AND LINE FREQUEN-
CY 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 should be Off before connecting
the mixer to the mains. As a further precaution, disconnect
the mixer from the mains while audio cables are being
installed. |
Mixer Placement
The MQ-Series are fully portable, self-contained mixers built |
in a hard, attractive case. Your mixer 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. |
For touring, a sturdy travel case should be constructed, with
adequate padding to prevent damage to the mixer in the
event it is dropped or handled roughly.
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. For this reason, Nippon-
Gakki (Yamaha), or its agents cannot accept liability for incidental or consequential damages,
including injury to persons or property, resulting from improper, unsafe or illegal installation or
use of the MQ-Series mixer or of any related equipment. Neither can the aforementioned parties
accept liability for any such damages arising from defects or damage resulting from accident,
neglect, misuse, modification, mistreatment, tampering or any act of nature.
APPLICATIONS
The following are but a few of the many ways the MO-Series mixers can be used. While we have illustrated the MQ802, MQ1202
and MQ1602 in specific sound systems, any of these mixers may be interchanged. As you become familiar with your mixer, you
will undoubtedly devise your own unique setups and operating techniques.
The MQ1602 as the Main Mixer in a Club/Cabaret Sound System
Microphones and preamplified electric instrument outputs can be
connected to the channel inputs. A direct box is inserted between an
instrument amplifier's speaker-level output and the mixer's channel
input. In situations where a high impedance source (mic or line) is
used by one performer, and a low impedance source by a subsequent
performer, the two sources can both be connected to a single
channel's inputs; the Input Selector switch can then be used for rapid
changeover between the sources. This extends the input capacity and
avoids the need to unplug and reconnect cables.
~The system illustrated uses a single channel of foldback (with optional
external graphic EQ), and has both a reverb and a delay line; only one
effect at a time is used, with the unused effect being turned off via its
Aux In level control. If echo/reverb needs are minimal, the Echo bus
Using the MQ1602 as a main mixer for a
club/cabaret sound system.
can be used for an additional foldback mix.
The sound system illustrated is stereo, with Left and Right program
outputs driving identical amplifiers and speakers. In a monaural sound
system, the two program outputs can be used differently. For
example, PGM L can be used for the house feed, while PGM R is used
for a second foldback or echo/effects mix. In larger monaural sound
systems, one program output can be used for the “near stage’ ampli-
fier cluster, and the other for a more distant speaker cluster (the
distant speakers would include a delay line between the mixer and
amplifier to keep the acoustic image located on stage).
Note that the Program Sub inputs can be used as auxiliary line inputs
for playing a stereo tape recording (or a preamplified record). This
setup does not detract from the available input channels, and is useful
during setup, or for playing background music during an intermission.
Guitar amplifier
Bass amplifier
Main house speakers
Electronic piano
(stereo output)
Speaker output Line out
(—10)
Y
Direct box w/
attenuation
pad built in.
— SE
Stereo power amp
iA
pues PS FU Ma SU МЕ VEA
—20
| Optional graphic EQ —— IN OUT |
M jo men |
| | Reverb
Monaural power amp NOTE:
(Foldback)
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~ Operator selects delay or reverb by adjusting
the aux in level controls.
Low impedance microphones
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MQ1602 Mixer
Stereo tape
player
(for setup and
intermission)
IN OUT
Linking the MQ802 and MQ1202 to Obtain 20 Input Channels
As in the preceding application, microphones and preamplified
electric instrument outputs can be connected to the channel inputs.
The advantage to this setup is that more total inputs are available.-For
example, the MQ802 and MQ1202 shown provide a total of 20 input
channels; two MQ1602s would provide 32 inputs, and so forth. More
than two mixers can be linked, although noise is cumulative, and thus
may become objectionable.
There are a few ways to link the mixers. The approach illustrated
connects the PGM outputs of the MQ802 to the PGM sub inputs of
the MQ120Z. Reversing the signal flow, the MQ1202’'s Echo and FB
Outputs are connected to the respective MQ802 Sub Inputs. Cross-
linking in this manner establishes the MQ802's Echo and FB Master
Linking two MQ-series mixers to
create a larger mixing system.
Stage monitor speakers
NOTE:
The program, FB and Echo outputs of one
mixer can be connected to the respective
sub inputs of the other mixer. This
prevents simultaneous metering of all four
outputs, but permits the one mixer's
master faders to serve as sub masters for
convenient sub grouping.
— IN
NOTE: Monaural power amp
Faders as the Grand Echo and FB Masters, while the MQ1202's PGM
Master Faders serve as the Grand PGM Masters.
MQ802's output Meters are switched to Echo and FB, while the
MQ1202's Meters are switched to PGM L and PGM R, so all four
outputs are simultaneously metered. |
If desired, the mixers can be linked in one directon; e.g., the MQ802's
РОМ, Echo and FB Outputs are connected to the MQ1202's Sub
Inputs. Simultaneous metering capability is lost, but all Grand Master
Faders are now located together on the MQ1202. At the same time,
the Master Faders on the MQ802 can function as sub-group masters,
provided that a group of related inputs is connected to that mixer.
Main house speakers
IN
Stereo power amp
In this case, the
Switch these meters to
FB and ECHO. FB and
NOTE:
Switch these meters to
PGM L and R. PGM L
ECHO master faders
control respective out- a and R master faders
puts. Microphones and line inputs control respective out- Microphones and line inputs
Y © ON - a A A и
5 ee, 4 СООО ООО
pr CCOO foco oo ao ACOCECCA
CEC :
Y Y A MQ802 Y AAA MQ1202
NOTE: NOTE:
Set PGM master faders at Set FB and ECHO master
nominal level and use faders at nominal and use
other imixer's PGM other mixer's ECHO and
master faders for mixing. FB faders for mixing.
“ § A
Reverb or delay line
+4 out
Stereo tape player
(for setup and intermission)
Using the MQ802 as a Keyboard Mixer
Today's keyboard performers often use as many as half a dozen
instruments for a single performance. Many such performers insist on
the added control they obtain by setting their own mix levels and EQ;.
this keyboard sub-mix drives local monitor speakers for the keyboard
performer, and is also fed to the.main house sound system.
Many electric keyboard instruments have high impedance unbalanced
inputs. These would tend to suffer high frequency losses and
Using the MQ802 as a keyboard mixer.
Monitor speaker
Output —20
Electronic piano
To high-z
unbalanced inputs
Symphonic
ensemble
increased noise when feeding a distant house mixer, unless a balancing
and impedance lowering transformer were used, However, when the
MQ mixer is used as an on-stage keyboard mixer, the unbalanced
instruments’ outputs are converted to balanced, low impedance lines
at the MQ mixer's XLR-type connector PGM outputs, saving the cost
and complexity of individual direct boxes. (The MQ mixer’s phone
jack outputs are used to drive the monitor amplifier, which is located
nearby.)
Monitor speaker
output
e 20
output —20
r
—
Sub-mixed feed to
main sound mixer
Echo out
fr =
To low-z
balanced inputs
MQ802 mixer
— Y IN OUT
E1005 or E1010 delay line
y
IN
Stereo power amp
10
Ba
11
Using an MQ-Series Mixer for Occasional Multi-Track Recording
The MO-Series mixers are intended for use in sound reinforcement
systems, and are not equipped with many of the essential features of a
true recording mixer. However, if you already own the MQ mixer,
you may wish to use it for informal recording work (such as laying
down synthesizer parts on a multi-track recorder). The setup illustrat-
ed shows an MQ802 with its Left and Right PGM Outputs being
patched into pairs of tracks on an 8-track recorder. The line outputs
from all 8 tracks are patched into the MQ input channel phone jacks,
while one or more of the mixer's XLR-type connector inputs accept
the live instrument(s) or microphone (s).
Initially, two tracks are recorded; subsequently, the mixer channels
corresponding to the recorded tracks are switched to the phone jack
inputs to pick up synchronous playback, and the PGM Qutputs are
Using MQ mixer for occasional multi-track recording.
Foldback to performer's
IN OUT headphones or speaker
Monaura! power
amplifier
patched into another two tracks of the recorder. This process contin- |
ues until the multi-track tape is completed (track-to-track transfers
can be done in a similar fashion).
Finally, the multi-track tape is played with all mixer inputs switched
to the phone jacks, and the PGM Outputs are plugged into a stereo
master recorder; the mixdown is thus completed.
In this system, the Foldback bus can be used to do a mono mix of all
previously recorded tracks, and the FB output is then fed to an amp-
lifier and either a speaker or headphone distribution system. This
provides monitoring for a performer(s) during overdubs. The recordist
or mixer operator can monitor the program with either headphones
plugged into the mixer front edge, or with a stereo amplifier and
speakers.
Stereo monitor speakers
studio)
—
| IN
—
OUT
NOTE:
Use headphones for moni-
toring PGM while record- |
ing with live microphones
near monitor speakers, and
turn off monitor amp.
‚ МОНО
A A
—
DFI
Rls
Stereo master
recorder
Then remix multi-track tape
and record stereo master tape.
Stereo power amplifier
Microphones and/or instruments
A
First record 2 tracks {
at a time
NOTE:
Record mics and/or in-
struments (up to maximum
number of input channels)
but only 2 tracks at a time.
When multi-track tape is
recorded, remix it and
connect the stereo PGM
— output to the stereo master
| recorder. XLR-type con-
nector/phone jack switches
are set as required for live
source or playback of
multi-track tape.
Ч
Y Y Y Y Y Y Y
|
ofojojoja|d
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:
Line input Output
0/0/0/00/0/0/0
OJOJOOJOJOIOJO]à
olo
More About the Graphic Equalizers
Each slider is detented so it “clicks” at the center (“flat”)
“point of its boost/cut range. These equalizers provide far
more flexibility than typical tone controls. Acoustic feed-
back can be reduced by lowering the slider which covers the
frequency range where the feedback occurs. Feedback
frequencies can be estimated by comparing them to notes on
a piano or other instrument (“middle C” is 256Hz, one
octave above is approximately 512Hz, etc.).
Feedback control is actually a minor application for the
Graphic Equalizers. Judicious use of the Equalizers can help
the PA system sound more natural in troublesome acoustic
environments, and can add desired color, warmth or penetra-
tion even in good acoustic environments. For example, some
clubs have large amounts of sound-absorbing carpeting,
drapery, furniture, etc. Since absorptive materials affect
mostly the high-frequencies, the sound may be too mellow or
bassy. Other rooms with very hard walls and ceilings, or hard
surfaced dance floors, may sound too bright. Or perhaps the-
speaker system is deficient in one freguency band yet is
peaky in another band. Adjusting the Graphic Equalizer.can
compensate partially for these problems in a way that would
be difficult to achieve with input channel EQ controls.
The Graphic Equalizers may also be used for many special
effects. As with any equalizer, greater amounts of boost or
cut cause greater phase shift. Therefore, use graphic equaliza-
tion sparingly; extreme settings should be reserved for solving
severe problems or for special effects. To keep distortion at a
minimum, avoid excessive boost at a single frequency. Since
removing feedback frequencies with the Graphic Equalizers
can also remove portions of desirable program material, you
should first attempt to solve feedback problems by careful
speaker and microphone placement.
GRAPHIC EQUALIZER LEFT
CER
— | a
EEE
250
Lou |
HEHE
ey
mi
1
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6
3
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3
6
9
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12
13
GENERAL SPECIFICATIONS
(Applies to all models, except as noted)
FREQUENCY RESPONSE +1, —3dB; 20Hz to 20kHz
(Channel In to PGM Out,
600 lines, +4dB nominal
level)
+0, —0.5dB; 70Hz to 10kHz.
TOTAL HARMONIC
DISTORTION (THD)*
(Channel In to PGM Out,
600€ lines)
Less than 0.5%, +4dB**, 20Hz
to 20kHz;
Less than 0.2%, +14dB, 70Hz
to 15kHz;
HUM AND NOISE *
(20Hz to 20kHz, with
1505) source Input Level
switch set at “—60”)
Con |
at nominal leve
INPUT A (XLR INPUT)
—126dBm Equivalent Input
Noise (EIN);
INPUT B
—122dBm Equivalent Input
Noise (EIN);
—94dB residual output noise
with all Faders down.
—65dB PROGRAM OUT;
Master Fader at nominal level
& all Input Faders down.***
—62dB PROGRAM OUT
(66dB S/N); Master Fader and
one Input Fader at nominal
level. ***
—62dB FB or ECHO OUT
(66dB S/N); Master Fader and
one FB or ECHO mix control
| E xx
MAXIMUM VOLTAGE
GAIN
(Input Level Switches
set at “—607dB, where
applicable)
PGM
PGM Out.
FB 76dB; Channel In to
FB Out.
ECHO 82dB; Channel In to
ECHO +4 Out.
58dB; Channel In to
ECHO —20
Out.
36dB; Aux In to
PGM Out.
6dB; Sub In to
PGM, FB, or
AUX IN
SUB IN
ECHO +4 Out.
76dB; Channel Into
MAXIMUM OUTPUT
LEVEL
+18dB, @1% T.H.D., PGM, FB
& ECHO Out.
CROSSTALK —60dB, @1kHz; adjacent inputs,
or input to PGM, FB or ECHO
output. |
INPUT CHANNEL LOW + 15dB at 100Hz,
EQUALIZATION shelving.
| — LOW-MID+ 15dB at 500Hz,
peaking. |
HI-MID + 15dB at 3kHz,
peaking.
HIGH + 15dB at 10kHz,
shelving.
PROGRAM L & В
OUTPUT GRAPHIC
EQUALIZATON
9 bands (X2, L+R), + 12dB
at 60, 120, 250, 500, 1k,
2k, 4k, 8k & 16kHz.
PEAK LEVEL METERS
Fluorescent bar graph peak level
meters; upper bar switchable for
PGM L or FB, lower bar switch-
able for PGM R or ECHO. |
“O"dB display = +4dB at mixer
output..
PEAK INDICATORS
1 LED built into each input
channel turns on RED when the
signal after the input level selec-
tor reaches or exceeds 3dB below
clipping.
FINISH
Black painted front panels with
gold lettering, rosewood veneer
cabinet, color coded knobs.
DIMENSIONS:
(WxDxH)
MQ802 528 x 546 x 171mm
(20-7/8 x 21-1/2 x
6-3/4")
668 x 546 x 171mm
(26-5/16 x 21-1/2 x
6-3/4")
808 x 546 x 171mm
(31-3/4 x 21-1/2 x
6-3/4")
MQ1202
MQ1602
NET WEIGHT
MQ802
13kg (28.6 Ibs)
MQ1202 16kg (35.2 lbs)
MQ1602 19kg (41.8 Ibs)
POWER SUPPLY
Self-contained module inside the
console, fused and fully regulated.
AC MAINS REQUIRE-
MENTS:
(MQ802, MQ1202 &
MQ1602)
100/1 20/220/240V (+ 10%)
50 or 60Hz |
POWER CONSUMPTION
MQ802 24W
MQ1202 27W
MQ1602 30W
* Measured with a 6dB/octave filter 012.47kHz; equivalent to a
20kHz filter with infinite dB/octave attenuation.
** In these specifications, OdB is referenced to 0.775V RMS
(0dBm at 6009).
*** Nominal level is 6dB below maximum setting.
INPUT/OUTPUT SPECIFICATIONS, EQUALIZER CHARACTERISTICS
m INPUT SPECIFICATIONS
ACTUAL
INPUT FOR USE INPUT LEVEL
CONNECTION LEVEL LOAD WITH SENSITIVITY CONNEC-
SWITCH |IMPEDANCE | NOMINAL | fat MAX. GAIN) NOMINAL MAX. before CLIP | TOR
—60dB* | 8002 —72dB (0.19mV} | —60dB (0.78mV) | —30dB (24.5mV) |£Lp-2.31
—50dB 8002 —62dB (0.62mV —50dB (2.5mV —20dB (78mV) [type
50 — 2502 ) ( ) ) MQ1602
A —35dB 8000 microphones | —47dB (3.5mV) —35dB (13.8mV) | — 5dB (436mV) (Genera
(Lo-Z) | —20dB 1.2kQ or 6002 line | _32dB (19.56mV) | —20dB (78mV) | +10dB(245V) | XLR-3-31
INPUTS level sources Type.
MO802 —10dB 2.3kQ —22dB (61.5mV) —10dB (245mV) | +20dB (7.75V) [Multi "©
eo + 4dB 2.6k2 — 8dB (309mV) + 4dB (1.23V) +24dB (12.3V) — |(FK-37-325)
CH1 +12 —60dB 25k $2 —72dB (0.19mV) —60dB (0.78mV) | —30dB (24.5mV)
M1602 16 —50dB 25k0 50 —50kO —62dB (0.52mV) —50dB (2.5mV) —20dB (78mV)
B —35dB 25k 92 microphones | —47dB (3.5mV) —35dB (13.8mV) | — 5dB (436mV)
(Hi-Z) 600. line Phone jack
—20dB 27k | or | ine —32dB (19.5mV) —20dB (78mV) +10dB (2.45V)
vel sourc
—10dB 49k —22dB (61.5mV) —10dB (245mV) | +20dB (7.75V)
+ 4dB 54ko — 8dB (309mV) + 4dB (1.23V) +24dB (12.3V)
AUX IN (1, 2) 25k 6009 lines —32dB (19.5mV) —20dB (78mV) +24dB (12.3V) Phone jack
SUB IN ea ECHO 1KQ 600% lines — 2dB (616mV) + 4d8 (1.23V) | +24dB (12.3V) | Phone jack
Eu OUTPUT SPECIFICATIONS
ACTUAL SOURCE | FOR USE WITH OUTPUT LEVEL
CONNECTON IMPEDANCE NOMINAL NOMINAL MAX. before CLIP CONNECTOR™**
: XLR 3-32 type &
FB OUT + 4dB (1.23V) +18dB (6.2V)
ECHO OUT (+4) 1302 600% lines + 4dB (1.23V) +18dB (6.2V) Phone jack
ECHO OUT (—20) —20dB (78mV) — 6dB (388mV)
PHONES 33N 8 phones — 6dB (388mV) + 2dB (976mV) STEREO phone jack
*
* *
OdB is referenced to 0.775V RMS.
Sensitivity is the lowest level that will produce an output of +4dB (1.23V), or the nominal input level when the unit is set to maximum gain.
*** All XLR-type connectors are floating (“balanced”) and transformer-isolated. Phone jacks are unbalanced. (TRS)
All specifications subject to change without notice or obligation.
= EQUALIZER CHARACTERISTICS
Input channel
RESPONSE (dB)
100
IK
FREQUENCY (Hz)
RESPONSE (dB)
Graphic
190
Ik
FREQUENCY (Hz)
‘
BLOCK DIAGRAM
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15
LEVEL DIAGRAM
+20) Clipping level
+20 — : — —
‚ Ц (+17) PEAK LED turn on
+10 ——
— ~ PGM
_ SUB IN FB
CH IN ECHO
__ (+4)
oO —
—i0 _ |
‘ (10) 1
RM
ait J
\ ñ
— WN Y же оф, о иона a iL
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1
/
—30 — — /
/
1/19
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-40 — UH
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{=60)
MULTI CONNECTOR
PGM MIX BUSSES
\ EcHo MIX BUSSES
Clipping (evel
о— SUM >
—o su E
(MQ1602 ONLY)
PEAK es
MIX BUSSES
®
cH
FADER PAN
4 STAGE
E 7—)
ECHO
y
A
FB
AUX IN
PAN
won pf —
SUB IN | PEM
FB
(+848) | Рено
Clipping level
PGM
FB
ЕСНО (+448)
(+4)
\
\— —— PHONES QUT (801)
ECHO {-20dB)
PGM
MASTER ®
9-BAND - о
H>H Y
PGM OUT
(+4dB)
O
| t+ada
ECHO OUT
D
FB |980 | | t-20aB
MASTER
F-E> — FB OUT
o—| (race)
PHONES
VOL
T
Ange
16
HOW TO CONNECT MULTI-CONNECTOR (ACCESSORY) & CABLE
MQ1602 general model is provided with a multi-connector
as an accessory, |
Connect the multi-connector and the cable referring to
the following figure and steps of procedure.
1. Put the cable through the end bell. If the clamp is found
loose, use a sleeve.
2. Strip the cover off the wire 6 ~ 8mm from its end and
solder it to the contact. Solder is already provided in the
hole of the contact to facilitate the work which must be
carried out within a short time not to allow extra flux or
solder to flow out of the hole.
3. Fit the end bell on to the contact and secure it with four
screws.
4. Fix the cable by tightening the clamp screw.
Pin connection
ONNEC CONNEC XLR
coor eH Noo. | “Tom |СН №.) ру №
PIN NO. PIN NO.
COMMON
1 CHI 2 20 ELO
2 | cn 3 21 CH9 2
3 | ch2 2 22 CH9 3
а | сн2 3 23 сН10 | 2
5 CH3 2 24 cHIO| 3
6 | cH3 3 25 CH11| 2
7 26 CH11 | a
8 CHa 2 27 CH12 | 2
9 | Cha 3 28 cHI21 3
10 | Ch5 2 29 CH13 | 2
11 CHS 3 30 | CH13| 3
12 | CH6 2 31
13 | CH6 3 32 CH14 | 2
14 | cH7 2 33 сн14 Г 3
15 CH7 3 34 cHIS| 2
16 | CHS 2 35 CH15| 3
17 CHS 3 36 CH16 | 2
COMMON
18 MMO 37 CH16| 3
19 COMMON
SHIELD
MAINTENANCE & SERVICE
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 and
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 damage adjacent
portions of the mixer, especially the meter face.
Inside the Mixer
WARNING: There are no user-serviceable parts inside the
mixer. Only qualified service personnel should
attempt to open the unit for any purpose.
‘Lethal voltages are present inside the mixer,
and the AC line cord should be DISCON-
NECTED PRIOR TO OPENING IT.
m
4 places 3 2 places
>
— hen] J
[-——
L—g-
nih
|
Use a sleeve when clamp is loose.
5.2mm 6 ~ 8mm
Contact
Multi-connector (MQ1602 only)
To qualified service personnel: Each input channel's com-
ponents are mounted on a separate printed circuit board with
metal shielded enclosure. This module can be removed for
repair or exchange in 4 easy steps: (a) pull off the control
knobs and unscrew the nuts on 2 control shafts, (b) remove
the mixer's bottom cover and stand the mixer on its back
edge, (c) unplug the ribbon cable from the channel module,
and (d) swing the module away from the chassis and remove
it. This modular design allows the mixer to be operated
normally while a channel has been removed for repair. The
MQ'’s graphic equalizers and output circuits are similarly
arranged on quick-change modules. As a further convenience,
the hinged power supply chassis swings down onto the work
bench so the mixer remains operable without using special
jumper cables.
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