www.yamaha.com/proaudio www.yamahaproaudio.com

2005
This document is printed on chlorine-free (ECF) paper with soy ink.
PAO-143NA P10017035 Printed in Japan
www.yamahaproaudio.com
www.yamaha.com/proaudio
Table of Contents
Band and Entertainment
Innovative Solutions for Live Sound
T
he term "live sound" covers a lot of ground, and no two applications are
exactly alike. You might only need to amplify a single microphone for a
business meeting, or mix many sources and deliver several kilowatts of power at
an outdoor concert. For both these scenarios, and everything in between,
Yamaha has the gear you need to get the job done with maximum quality,
efficiency and ease.
When choosing equipment for your application, you’ll need to consider the
following points:
1 Scale
Band Rehearsal 1
Band Rehearsal 2
Piano Bar
Sports Bar
Small Stage
Large Outdoor Stage
Festival
County Fair
Church
Small Church
Mid-sized Church
Party and DJ
Live Music at Home
Wedding Ceremony
Dinner Presentation
Outdoor Dance Event
School and Business
Acoustic Music
Conference Room
Lecture Hall
Gymnasium
Point of Sale
PRODUCT Line Up
4
4
4
5
5
6
7
8
9
10
10
10
12
12
12
14
15
16
16
16
17
17
18
20
How big is your audience? How big is the venue or area you need to cover? For larger setups, you
will need to have enough speakers and power to cover the area. smaller venues with space
limitations require equipment that can provide the required functionality and performance without
Mixers
22
MG Series
EMX62M/66M/68S/88S
EMX5000-12/20
22
23
24
Signal Processor
24
getting in the way.
2 Sources
Do you only need one or two microphones for speech or vocals? Will you be supporting live music
using numerous microphones and line-level inputs? Do you need to handle recorded sound effects
or background music? All these factors will determine the size and type of mixer you’ll need, as
well as monitoring and output equipment (equalizers, power amplifiers, and speakers).
3 Indoors or Outdoors
The requirements for indoor and outdoor sound can be quite different. While power, coverage and
sound quality are relatively easy to handle indoors, these factors often require extra care outdoors
where there are no room reflections to reinforce the sound and your audience may be spread out
over a large area. You also have nature to deal with when working outdoors, so you need a setup
that can withstand less-than-favorable weather conditions.
SPX2000
Q2031B
Power Amplifier
P Series
SR Speakers
Club V Loudspeakers S Series
Club V Loudspeakers C Series
BR Series Speakers
AS Series Speakers
MSR400 & MSR800W
MSR100
MS101II/MS202II
STAGEPAS 300
24
24
25
25
26
26
26
27
28
29
30
30
31
Tips 1 [PA Basics], [Mixer Essentials]
11
Tips 2 [1.Cable Types], [2.Connector Types]
13
Tips 3 [Selecting PA Equipment]
21
1 Simple Steps To Better Sound [Gain is the key to level control]
14
2 Simple Steps To Better Sound [Connection and power switching order]
18
3 Simple Steps To Better Sound [Feedback control]
18
4 Simple Steps To Better Sound [Why use monitor speakers?]
28
5 Simple Steps To Better Sound [Boosting system power]
29
Band and Entertainment
Band Rehearsal 1
If you rehearse with real drums and other instruments at
realistic levels, you’ll need some vocal amplification for wellbalanced, productive rehearsals. Even if the band is relatively
quiet, vocalists need to practice with microphones and
amplified sound if amplification will be used on stage. This
simple system featuring the EMX66M powered mixer, a pair of
BR12 speakers, and a couple of good microphones is ideal.
■ Sam pl e A ppl i cati ons
Source
A small, easy-to-handle system delivering high sound quality
Source
Phone Cable
DEC/NO
EXIT
INC / YES
ENTER
EXECUTE
MICS 1~6
Keyboard
Good Reasons For Choosing Yamaha
Mixer
•
•
•
•
•
•
•
EM X 66M
S p e a ke r A
S p e a ke r B
All-in-one model with superior portability
Six microphone inputs
Built-in power amplifier for easy setup
Built-in effects
GEQ for tonal shaping and feedback control
Limiter circuit prevents overload
Super Hi-Z input directly accepts electricacoustic guitar and similar sources
Here’s a system that’s ideal for small venues hosting musical
entertainment ranging from solo pianists to jazz trios with a
vocalist. The volume may be low, but vocalists need solid
monitor sound to deliver their best performance. In this
example, an EMX88S powered mixer delivers the house sound
via a pair of S112V (C112V) speakers, while a single SM12V
(CM12V) provides quality monitor sound.
BR12
• Compact and lightweight with high-power
output
■ System Chart
For Music
Audience:
5 ~ 8 people
Rehearsals in larger rooms with many musicians require
substantial sound support. Here’s a system that will
comfortably handle multiple sources – full drum-set mic
setups, brass sections, and more – while powering four main
speakers and two monitors. The EMX5000-20 features 20
input channels and delivers a healthy 500 watts per stereo
channel to four S112V (C112V) speakers.
In this system a pair of powered MSR400
speakers are used for monitoring.
Mic:
1 ~ 8 channels
Scale-Big
Line:
Two stereo
BR12
Scale:
Jazz club with small stage
BR12
For Speech
For Music
■ Equi pm ent L i st
Powered Mixer
EMX66M
1
Speaker
BR12
2
■ Sam pl e A ppl i cati ons
A compact setup with serious microphone mixing and one-take recording capability
Source
Audience:
30 ~ 50 people
S11 2 V
( C 112 V )
S 1 12V
( C1 12 V )
S M 12V
( CM 12 V )
FRO NT L
F RO NT R
MONI TO R
■E qui p m ent L i st
Powered Mixer
EMX88S
1
Main Speaker
S112V (C112V)
2
Monitor Speaker
SM12V (CM12V)
1
MICS 1–16
Mixer
Good Reasons For Choosing Yamaha
EMX5000-20
A compact system with plenty of stereo inputs
Source
EMX5000-20
• Console-type powered mixer with pro-class
mixing capability
• Plenty of microphone inputs
• Built-in “YS Processing” allows the optimum
program to be selected for maximum
performance with Club Series speakers
• Dual digital SPX effect processors built in
• Total graphic EQ allows versatile overall
response control
There’s no denying that while much of the impact of a sports
event is visual, sound plays a huge role as well. Sports bars
that show live or recorded sports on 50" or larger screens
have the visual aspect pretty much covered, now here’s a
sound system that can really bring the action to life. And
when it’s not sports time, it serves as an outstanding BGM
system as well. An MG10/2 handles the required inputs with
room to spare, and a pair of MSR400 powered speakers
deliver big, dynamic sound.
Good Reasons For Choosing Yamaha
Mixer
MG10/2
Line:
Two stereo
Audience:
10 ~ 15 people
S112V
MG10/2
• Although it is remarkably compact, the
MG10/2 offers up to four stereo inputs for a
TV tuner, DVD player, CD player, etc
• Microphone inputs available for
announcements, MCs, and similar
applications
ST OUT R
ST OUT L
Mic:
1 ~ 6 channels
Scale:
Four-car garage
CD Player etc.
AUX SEND 2
■ System Chart
For Music
DVD Player
S p e a ke r B
AUX SEND 1
Scale-Big
XLR Phone Cable
TV/BS/CS Tuner
Speaker
Yamaha Sound Reinforcement 2005
S112V (C112V)
• Durable carpet finish takes rough handling in
stride
• Compact and lightweight with high power
output
• An ideal match for mixers that feature YS
Processing
SM12V (CM12V)
• Small vocal monitor takes up minimum stage
space
■ S a mp l e App l i ca ti ons
Sports Bar
XLR Phone Cable
Speakon Cable
S p e a ke r A
4
S p e a ke r A
Scale-Small
Band Rehearsal 2
Scale-Small
EMX88S
• Built-in digital SPX signal processing makes it
easy to achieve a full, rich vocal sound even in
small piano-plus-vocal settings. Stereo graphic
EQ provides precise tonal shaping capability
• Up to eight microphone inputs. A benefit in jazz
clubs with limited stage space: Super Hi-Z
inputs allow direct connection of electric guitars
and basses
• A rack-mount kit is available for even further
space savings. Minimum space requirements,
but serious 400 + 400 watt output (into 4Ω)
■S ys te m C h ar t
Scale-Small
For Speech
Good Reasons For Choosing Yamaha
EMX88S
Speake r A
Line:
Two stereo
For Speech
MICS 1~8
Mixer
S p e a ke r B
Mic:
1 ~ 6 channels
Scale:
Rehearsal studio,
approx. 30 square meters
Speakon Phone Cable
Speaker
Speaker
Scale-Big
■ S a mp l e App l i ca ti ons
Piano Bar
A small-scale setup that excels in compactness and portability
S112V
S112V
(C 1 1 2 V)
(C 1 1 2 V)
F RON T L
S112V
M S R4 0 0
(C 1 1 2 V)
(C 1 1 2 V)
F RON T R
M S R4 0 0
S112V (C112V)
• Compact and lightweight
with high power output
• An ideal match for mixers
featuring YS Processing
MSR400
• Cabinet design allows
multiple placement options
• Powered speaker with direct
volume control for monitor
applications
MON ITOR S
■S ys te m C h ar t
EMX5000-20
1
Main Speaker
S112V (C112V)
4
Monitor Speaker
For Speech
MSR400 (Powered)
MSR400
• Powerful powered speaker that won’t get
drowned out by the cheers of the audience
• 400W total, bi-amplified output power (Max)
Line:
Four stereo
For Music
Scale:
Sports bar with hanging or
projector TV
Audience:
30 ~ 50 people
■ Equi pm ent L i st
Powered Mixer
Speaker
Mic:
1 ~ 4 channels
Scale-Big
2
MS R4 00
M S R4 00
■E qui p m ent L i st
Mixer
MG10/2
1
Powered Speaker
MSR400
2
Scale-Small
Yamaha Sound Reinforcement 2005
5
Band and Entertainment
Small Stage
Large Outdoor Stage
This small-but-serious system will cover small to mediumsized live venues with thoroughly professional quality and
versatility.
The MG24/14FX mixer offers plenty of input capacity plus
dual high-performance signal processors built-in. FOH
sound is delivered by P5000S and P7000S power amplifiers
driving S115V (C115V) full-range speakers and SW118V
(CW118V) subwoofers, respectively. For monitoring, a pair
of SM15Vs (CM15Vs) is powered by a P5000S amplifier
with a Q2031B equalizer for feedback control. An SPX2000 professional multieffect processor could be added for additional vocal processing.
Mic:
1 ~ 16 channels
Scale-Big
Line:
Four stereo
For Speech
For Music
Scale:
Medium-size live
space with stage
Audience:
150 ~ 200 people
Scale-Small
■ Sam pl e A ppl i cati ons
Outdoor sound poses some unique
problems, and power and speaker
coverage are of prime importance. The
system shown here delivers three
kilowatts to FOH via three P5000S
power amplifiers and a combination of
S215V (C215V) full-range speakers
and SW218V (CW218V) subwoofers.
An additional 2.8 kilowatts is allotted
for monitoring via four P3500S amps and SM15V (CM15V) monitor speakers.
The MG32/14FX console handles the wide range of inputs and signal processing
often required at outdoor music events.
Mic:
1 ~ 24 channels
Scale-Big
Line:
Four stereo
For Speech
For Music
Scale:
Large outdoor
concert stage
Audience:
500 ~ 1,000 people
Scale-Small
■ S a mp l e A ppl i c at i on s
Medium-size system for powerful live sound
Large-scale support for long-running live events
Source
Speakon Cable
DEC/NO
EXIT
INC / YES
Source
Speakon Cable
Phone Cable
Phone Cable
XLR Cable
XLR Cable
ENTER
EXECUTE
MICS 1~16
Guitar Amp x 2
Bass Amp
Mixer
Drums
Keyboard
MG24/14FX
• 16 microphone inputs plus four stereo line inputs
and built-in digital SPX effects
• Plenty of inputs and outputs for versatile system
expansion
M G 2 4 / 1 4 FX
RETURN1 R
RETURN1 L
AUX3
SPX2000
Input A
B
SPX2000
• Add full, natural reverb to the vocal sound with the
top-rated new SPX model
Q2031B
• Use both channels for feedback control and to
deliver the optimum monitor sound
MG32/14FX
• Ample input and output capacity provides plenty of
margin for micing and monitoring even for large
bands
AUX5
ST OUT
R
MONO
AUX 4
R Output
Good Reasons For Choosing Yamaha
RETURN1 L
AUX 3
L
Keyboard x 2
RETURN1 R
AUX 2
L (MONO)
Drums
MG 32 / 14F X
L
Signal Processor
Bass Amp
AUX 1
MONO
Guitar Amp x 2
Mixer
AUX 2
R
AUX 1
ST OUT L
MICS 1~24
Good Reasons For Choosing Yamaha
Signal Processor
L (MONO)
L
R Output
SPX 200 0
Input A
B
Output A
B
Input A
B
Output A
B
SPX2000
• Add full, natural reverb to the vocal sound with the
top-rated new SPX model
Q2031B
• Use both channels for feedback control and to
deliver the optimum monitor sound
Q 20 3 1B x2
Output A
B
Q2 0 3 1 B
Power Amp
Input A
B
Input A
Input A
P7000S
P5000S
B
P5000S
Speaker B
Speaker A
Speaker
S115V
(C1 1 5 V )
S115V
(C1 1 5 V)
SM15V
(CM 1 5 V )
SM15V
(CM 1 5 V )
MONITOR
S W1 1 8 V
(CW1 1 8 V )
S W1 1 8 V
(CW1 1 8 V)
P5000S, P7000S
• Choose the amplifiers renowned for stable power –
the P Series! The P5000S drives the main speakers
while the P7000S delivers extra power to the
subwoofer
S115V, SW118V (C115V, CW118V)
• The 15-inch S115V (C115V) woofers deliver plenty
of sonic impact while the subwoofer puts out the low
end needed for rock ‘n roll fidelity. This is an FOH
setup that will do justice to just about any band
SM15V (CM15V)
• Large 15-inch monitors chosen to ensure coverage,
and supply clear monitor sound to performers
Power Amp
P5 0 00S x 2
Input A
A
B
A
P 500 0 S
Input A
B
Input A
A
B
Speaker A
Input A
Speaker A
Input A
Speaker A
Speaker A
S 215 V S 2 15V S 2 15V S 2 15V
SW 21 8 V
SM 1 5V
S M 15V
S M 15V
S M1 5V
( C215V ) ( C2 15 V) (C 215V) (C 21 5V )
(C W2 18 V)
(C M15V )
(C M15V )
(C M15V )
(C M 15V )
F.O.H
■Equi pm ent L i st
Input A
Speaker
F.O.H
6
P7000S
Input A
MONITOR
P5000S, P7000S
• Choose the amplifiers renowned for stable power –
the P Series! The P5000S drives the main speakers
while the P7000S delivers extra power to the
subwoofer. P5000S power amplifiers deliver ample
power to SM15V (CM15V) monitors
S215V, SW218V (C215V, CW218V)
• Taking the extra sound loss usually incurred in
outdoor applications into consideration, the dualwoofer S215V (C215V) has been chosen to provide
plenty of coverage. And the dual-woofer SW218V
(CW218V) is used to match the performance of the
main speakers
SM15V (CM15V)
• Since the event is outside, monitors with large 15inch woofers are used to ensure solid monitor sound
■Eq u i pm e nt Li s t
S115V (C115V)
2
Graphic EQ
Q2031B
1
Mixer
MG32/14FX
1
Speaker
4
Graphic EQ
Q2031B
2
Woofer
SW118V (CW118V)
2
Digital Multi Effects
SPX2000
1
Power Amp
P5000S
4
Woofer
SW218V (CW218V)
2
Digital Multi Effects
SPX2000
1
Monitor Speaker
SM15V (CM15V)
2
Power Amp
P7000S
1
Monitor Speaker
SM15V (CM15V)
4
Mixer
MG24/14FX
1
Speaker
Power Amp
P5000S
2
Power Amp
P7000S
1
Yamaha Sound Reinforcement 2005
S215V (C215V)
Yamaha Sound Reinforcement 2005
7
Band and Entertainment
Festival
County Fair
This system is designed for optimum sound coverage from a central stage surrounded by the audience.
Special attention must be paid to monitoring in this type of situation, so each performer is provided with his
or her own monitor speaker. The MG16/6FX console provides ample mixing and signal-processing capability,
while dual P5000S power amplifiers driving four S115V (C115V) speakers on stands effectively cover the
required area.
County fair type events combine announcements with competitions and music, requiring
substantial sound-reinforcement capability. And since the area to be serviced can be quite large,
ample power and coverage are essential. In this system, FOH power is supplied by P5000S
amplifiers feeding dual-driver speaker systems for high efficiency. A solid 2.8 kilowatts is
provided for monitoring via four SM12V (CM12V) monitor speakers. The MG32/14FX console
can easily handle the wide range of sources this type of event can entail.
■ System Chart
■Sys t em C har t
Mic:
1 ~ 10 channels
Scale-Big
Mic:
1 ~ 24 channels
Scale-Big
Line:
Four stereo
Line:
Four stereo
Scale:
Temporary outdoor stage. Contests being held in
front of the stage with full-time announcements
and commentator. Live music during breaks in the
activities
Scale:
Central outdoor stage
For Speech
For Music
For Speech
Audience:
100 ~ 500 people
Audience:
500 ~ 1,000 people
Scale-Small
Scale-Small
■ S a mp l e A ppl i c at i on s
■ Sam pl e A ppl i cati ons
A large-scale system to handle everything from announcements to live bands
Serving the entire area from a temporary central stage
Source
Speakon Cable
MICS 1~8
For Music
Guitar Amp
Bass Amp
Phone Cable
Drums
Mixer
XLR Cable
Source
Good Reasons For Choosing Yamaha
CD Player etc.
MG16/6FX
• Since this is basically an “event,” microphones will be required for
announcements as well as acoustic instruments such as drums.
Built-in effects provide considerable functionality in a relatively
simple system
• Four stereo inputs
M G 1 6 / 6 FX
Speakon Cable
MICS 1~24
Guitar Amp
B
A
B
Output A
B
Input
Q2 0 3 1 B
Power
Amp
Input B
Input A
P5000S
P5000S
Input A
Input A
Input A
Input A
Speaker A
Speaker A
Speaker A
Speaker A
Speaker
S115V
S115V
S115V
S115V
SM12V SM12V SM12V SM12V
( C 115V )
( C 115V )
( C 115V )
( C 115V )
( C M 12V ) ( C M 12V ) ( C M 12V ) ( C M 12V )
P5000S, P3500S
• The P5000S is used to power the main speakers, and the P3500S
drives the small stage monitors. YS Processing delivers optimum
performance from the Club Series speakers
S115V (C115V)
• These speakers cover the entire service area from four points on
the temporary stage. 15-inch woofers are chosen to ensure solid
coverage
SM12V (CM12V)
• Compact 12-inch monitors supply clear monitor sound to
performers
Q2031B
• Use both channels for feedback control and to deliver the optimum
monitor sound
A
B
Q 203 1 B
Output A
B
P 350 0 S
P35 0 0S
P35 0 0S
P3 5 00S
Input A
Input A
Input A
Input A
A
B
Output A
B
Input
Input
Q2 0 31B
Power Amp
A
P50 0 0S
P 500 0 S
Input A
Input A
B
A
Speaker A
B
Speaker A
Speaker A
P5000S, P3500S
• Delivering efficient power to the Club V series speakers are the
P5000S for FOH and the P3500S for the monitors
Speaker A
Speaker
S215V (C215V)
• Two dual-woofer S215V (C215V) speakers ensure that the
program reaches the entire audience in the outdoor application.
An ideal setup for continuous use
SM12V (CM12V)
• Compact 12-inch monitors put out focused stage monitor sound
S21 5 V S 215 V
S21 5 V S21 5 V
( C215V) (C 215V)
(C 215V) ( C215V)
SM 1 2V
S M12 V
( CM 12V) (C M1 2V )
F.O.H
S M 12V
SM1 2 V
(C M12V ) (C M1 2V )
MONITOR
■E qui p m en t L i st
■Equipm ent L is t
8
Signal Processor
MONITOR
F.O.H
MG32/14FX
• A plentiful complement of inputs and outputs
• Pro-class mixing capability with three-band mid-sweep channel EQ
• Internal digital SPX signal processing offers versatile effect
options
Q2 0 3 1 B
P3500S P3500S P3500S P3500S
Input B
Good Reasons For Choosing Yamaha
CD Player etc.
AUX 4
B
AUX 3
A
Output A
AUX 2
Q2031B
• Use both channels for feedback control and to deliver the optimum
monitor sound
Input
Input A
R
AUX 1
Signal Processor
Drums
M G 3 2/1 4 FX
GROUP 4
ST OUT
GROUP 3
ST OUT
GROUP 2
R
GROUP 1
R L
Bass Amp
Mixer
ST OUT L
L
XLR Cable
Phone Cable
Mixer
MG24/14FX
1
Speaker
S115V (C115V)
4
Mixer
MG32/14FX
1
Speaker
S215V (C215V)
4
Power Amp
P5000S
2
Monitor Speaker
SM12V (CM12V)
4
Power Amp
P5000S
2
Monitor Speaker
SM12V (CM12V)
4
Power Amp
P3500S
4
Graphic EQ
Q2031B
2
Power Amp
P3500S
4
Graphic EQ
Q2031B
2
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
9
Church
Small Church
Designed primarily for background music and speech, this
compact, easy-to-handle system is ideal for small houses of
worship. It’s portable and easily re-configurable, so it can
easily be adapted to a variety of programs, indoors or out. An
MG12/4 mixer offers advanced mixing potential and versatility
in a space-saving package, and a P3500S power amplifier
delivers more than enough ultra-clean power to make the
most of the S112V (C112V)
house speakers.
■ Sam pl e A ppl i cati ons
A small-scale system that takes advantage of the room’s natural ambience
Source
Speakon Cable
XLR Cable
Mixer
MG12/4
• Microphones will be the main source for
this system, and the MG12/4 can handle
organ, choir practice, and a variety of
setups that change on a daily basis
MG12/4
ST OUT
L
PA Basics
Good Reasons For
Choosing Yamaha
M IC S 1 ~6
R
Power Amp
Input A
P3500S
• Ample power for small scale applications:
An ideal match for Club V series speakers
B
P3500S
■System Chart
Mic:
1 ~ 6 channels
Scale-Big
S112V
Speaker
S112V (C112V)
• High power capacity in a compact,
lightweight enclosure
• A perfect match for powered mixers or
amplifiers with built-in YS Processing
( C 112V )
Line:
Four stereo
Scale:
Small town church
For Speech
For Music
Audience:
Approximately 50 people
Tips 1
F RON T L
F RON T R
MG12/4
1
Power Amp
P3500S
1
Speaker
S112V (C112V)
Input
Mixing and Processing
• The sound from acoustic sound sources
such as speech or singing, drums, pianos,
acoustic guitars, and electric guitar
amplifers is initially picked up using
microphones. Microphones sources are
input to the sound system’s mixer via its
microphone or "mic" inputs.
• As its name implies, a "mixer" is a
device which is used to mix and balance
the signals from the various microphone
and line sources to create the final
program the audience will hear. The
mixer usually also includes equalization
facilities.
• The output from electronic sources such
as CD players, synthesizers, and other
electronic instruments are connected
directly to the mixer via its line inputs.
• Some mixers also include effects such as
reverb or delay to allow more extensive
control over the output sound.
Delivery
Amplification
• The output from the power amplifier
(whether separate or built-in) drives the
speakers that actually deliver audible
sound to the audience. The type and
number of speakers required will
depend on the size and configuration of
the venue as well as the type of event
being handled.
• The balanced program created by the
mixer is sent to a power amplifier which
boosts the program signal so that it can
drive the system’s speakers.
• Although separate power amplifiers can
be used in just about any application,
mixers with built-in power amplifiers and
powered speakers are often a better
choice especially when system simplicity
and portability are required.
■ Equi pm ent L i st
Mixer
The term “PA” traditionally stands for “Public Address,” and “PA System” refers to an electronic
system for amplifying the voice of a speaker addressing a large crowd or people distributed throughout
a large building. These days the term is often applied to the main amplification system at events and
concerts as well, although such systems are sometimes called “sound reinforcement systems,” or
simply “sound systems.”
The main functions of a PA or sound reinforcement system are summarized below:
2
• In live music applications monitor speakers
for the performers will also be necessary
in most cases.
Scale-Small
Mid-sized Church
A system like this is an excellent starting point for worship
programs that involve live music as well as the spoken word.
An MG16/4 or larger MG-series console provides outstanding
sonic quality and mixing flexibility. And an output chain
consisting of P5000S power amps driving C115V (S115V)
full-range speakers and CW118V
(SW118V) subwoofers will get
the musical message across
without compromise. Powered
monitor speakers such as the
MSR100 can be added if
monitoring is required.
■ Sam pl e A ppl i cati ons
Mid-sized church installation
Source
DEC/NO
EXIT
Speakon Cable
XLR Phone Cable
XLR Cable
INC / YES
ENTER
EXECUTE
M IC S 1 ~1 0
Mixer
MG16/4
• The MG16/4 provides up to 10 microphone
inputs that can be used to handle a variety of
changing situations - organ for mass, choir
practice, worship groups and more
MG16/4
Group Out 1
Group Out 2
ST OUT L
ST OUT R
Power Amp
P5000S
• This configuration provides plenty of power to
deliver maximum impact from all 88 keys of a
synthesizer used in place of an organ, for
example, thanks to built-in YS Processing
Input A
Input A
P5000S
P5000S
Speaker
C115V, CW118V (S115V, SW118V)
• An ideal match for mixers or amplifiers
equipped with YS Processing
• Large-diameter cones deliver high-quality
sound uniformly throughout the entire
service area
• A perfect match for powered mixers or
amplifiers with built-in YS Processing
MSR100
• A handy powered speaker that can be quickly
set up for music applications when required
■System Chart
Mic:
1 ~ 10 channels
Scale-Big
Line:
Four stereo
Scale:
Town church
For Speech
For Music
Audience:
Approximately 100 people
Mixer Essentials
Good Reasons For
Choosing Yamaha
Keyboard
C 1 1 5 V & C W1 1 8 V
MSR100
( S115V & SW 118V )
F.O.H
MONITOR
■ Equi pm ent L i st
Mixer
MG16/4
1
Sub Woofer
Power Amp
P5000S
2
Powered Speaker MSR100
CW118V (SW118V)
Speaker
C115V (S115V)
2
2
2
The mixer is the core of any sound system. The basic elements of a mixer are
described below, using the simple MG10/2 mixer as an example.
MIC
Pin-jack Connectors
These are the mixer’s microphone inputs, featuring balanced XLRtype input connectors. The MG10/2 allows connection of up to
four microphones.
These are line-level inputs provided specifically for connecting to
standard CD players or tape decks and thus feature pin-jacks that are
directly compatible with most equipment of this type.
LINE
2TR IN
Electronic keyboards and other electronic instruments, effect
devices, electric-acoustic guitars and other line-level devices can be
connected to the LINE inputs. Both mono and stereo line inputs are
provided, so synthesizers with stereo outputs, for example, can be
connected to the stereo line inputs.
These inputs are primarily used to receive the stereo signal from a
CD player or other source for background music.
REC OUT
GAIN
The REC OUT connectors can be connected to a stereo tape deck
or other recording device to allow convenient recording of the
mixer’s stereo program.
Primarily used to adjust the input gain (sensitivity) of the
microphone inputs. Microphone signals are much lower in level
than line signals, and require extra amplification.
STEREO OUT
These are the mixer’s main stereo program outputs.
HIGH/MID/LOW (Equalizer)
These equalization controls – somewhat similar to tone controls –
can be used to refine the sound of each individual channel.
Independent controls for the high, midrange, and low frequencies
allow precise response shaping.
SEND
Sends the assigned signals to an external signal processing device
or monitor system.
RETURN
AUX
In addition to the main stereo program outputs, the mixer has
"auxiliary" outputs that can be used to send the channel signals to
external signal processors or monitor amps and speakers. Independent
AUX controls are provided for each channel.
Receives the processed signal returned from an external signal
processing device to be mixed back in with the program signal.
METER
Allows accurate visual monitoring of the mixer’s stereo signal
levels.
PAN
These controls position the corresponding channel’s signal from
left to right in the stereo sound field. "Pan" is short for
"panorama" or "panoramic" control.
ST
LEVEL
C-R/PHONES
These are the main level controls for each of the mixer’s channels.
The MG10/2 uses rotary level controls. On larger mixers these are
often linear "faders".
"C-R" stands for "Control Room," and of course "PHONES" refers
to headphones. This control adjusts the signal level monitored via
both headphones and the mixer’s C-R outputs.
Adjusts the level of the mixer’s STEREO outputs, and thus the
volume of the sound heard from the system’s speakers.
Scale-Small
10
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
11
Party and DJ
Live Music at Home
Here’s a system that will be appreciated by individuals or
families who enjoy live music at home. Although an electronic
keyboard and just a couple of microphones are shown, this
setup can handle quite a bit more. The MG12/4FX console will
handle up to 12 inputs with top-quality effect processing
built-in, and a pair of MSR100 powered speakers put out
sound adequate for all but the most spacious living rooms.
■ Sam pl e A ppl i cati ons
The perfect setup for solo performances at home
Source
XLR 3-32 – 3-31 Canon Cable
M ICS 1 ~ 6
Keyboard
Mixer
MG12/4FX
Tips 2
Good Reasons For
Choosing Yamaha
Although a PA system’s mixer, amplifiers and speakers are indispensable, so are the cables and connectors that get the system’s signals
from one place to another. In fact, choosing the right cables for the various system connections is of the utmost importance. Here’s a brief
overview of the main types of cables and connectors you are likely to encounter.
MG12/4FX
• Enough microphone capacity for piano
or guitar, with top-quality built-in effects
when needed
• Compact with serious mixing potential
1. Cable Types
Microphone/Line Cables
These are the cables used to connect microphones and electronic
instruments to the mixer’s inputs, and connect the line-level signal
from the mixer’s outputs to the system’s power amplifier(s). These
types of cables are shielded to minimize noise pickup.
ST OU T L
ST OU T R
Speaker
■ System Chart
Mic:
1 ~ 6 channels
Scale-Big
* Never use this type of cable to connect the outputs of a power amplifier to speakers. Microphone/line cables are
designed to handle low-level signals, and heat up and even pose a fire hazard if used for power connections.
MSR100
• Compact 100-watt powered speaker
that can be quickly set up when needed
Unbalanced cables have just two conductors –
generally a core and a shield. Electric guitar cables
and most types of electronic instrument cables
have this type of construction. Cables of this type
are convenient to use and offer good noise
rejection, but are inferior to balanced cable when it
comes to noise-rejection with very low-level signals
or long cable runs.
Line:
Four stereo
Scale:
Living room
For Speech
For Music
Audience:
10 ~ 15 people
M S R1 0 0
M S R1 0 0
Two elements essential to
any wedding (in addition to
the bride and groom) are
speech and music.
This system is ideal when
the joyous mood of the
moment needs to be
conveyed to a fairly large
group of attendees.
In most cases, just a couple
of mics are sufficient, and
an electronic keyboard such as Yamaha’s MOTIF ES6 can
function as pipe organ, piano… just about any instrumentation
you need. An EMX68S driving a pair of S115V (C115V)
speakers for FOH, and an SM12V (CM12V) for monitoring
should cover the sound delivery requirements.
Mixer
MG12/4FX
1
Powered Speaker
MSR100
2
A mid-size system to complement important celebrations
Source
Speakon TRS Phone Cable
DEC/NO
EXIT
INC / YES
ENTER
EXECUTE
M ICS 1 ~ 6
Good Reasons For
Choosing Yamaha
Keyboard
Mixer
EMX68S
S peaker A
S peaker B
Speaker
Mic:
1 ~ 6 channels
For Music
Scale:
Wedding chapel with central
aisle
Audience:
20 ~ 30 people
Scale-Small
12
EMX68S
• A good PA system is indispensable in
getting speeches and music across to
the audience. This powered mixer
ensures that background music and
keyboard (organ) performances are
heard by everyone present
• Graphic EQ can be put to good use in
adjusting for optimum sound in
naturally reverberant chapel spaces
S115V (C115V)
• The large-diameter 15” Club V series
S115V (C115V) is chosen for its
outstanding projection and presence
• An optimum match for the YS
Processing equipped EMX series
mixers
Line:
Two stereo
For Speech
Balanced cables have three conductors – two core
conductors surrounded by a shield. This type of
connection was invented to overcome the noise
pickup problems commonly encountered with
unbalanced connections, and is the type used in
most professional sound equipment. This type of
cable can only be used with balanced connectors.
Core conductors
Shield
Core conductors
Speaker Cables
■ Sam pl e A ppl i cati ons
■ System Chart
Scale-Big
Balanced Cables
Shield
■ Equi pm ent L i st
Scale-Small
Wedding Ceremony
Unbalanced Cables
S115V
S115V
( C 115V )
( C 115V )
Speaker cable is specifically
designed to transfer the
amplified signal from the
power amplifier’s outputs to the
speaker’s inputs. Speaker cables
feature heavy-duty conductors
designed to handle the high-power
signal delivered by the power
amplifier, and because of the much
higher signal levels no shield is
required.
Powered Mixer
EMX68S
1
Speaker
S115V (C115V)
2
Maximum Cable Length
The maximum usable length of a cable will depend on the output impedance of the
device feeding it. The maximum length of cable that can be used with highimpedance outputs is about 10 meters. For low-impedance outputs, the maximum
is about 20 meters with unbalanced cable or 80 meters with balanced cable. Longer
cables will probably cause some signal degradation, particularly a loss of the high
frequencies. (The actual maximum length will also depend on the construction and
quality of the cable.)
2. Connector Types
XLR-type Connectors
Phone Connectors
The name "phone connector" (phone plugs and
phone jacks) comes from the fact that these
connectors were originally used in telephone
switchboards. Phone connectors come in mono
and stereo types. The stereo type is also
sometimes referred to as a "TRS" (Tip, Ring,
Sleeve) phone connector, and these types can be
used for headphones and other stereo signal
connections, input/output insert patching, and
balanced signals. Mono types are only used for
unbalanced connections, and are commonly used
for guitar and instrument cables.
RCA Pin Connectors
■ Equi pm ent L i st
* Speaker cable cannot be used in place of
microphone/line cable because of its susceptibility
to noise pickup.
Conductors
Most home-use audio and audio/video equipment
use this type of unbalanced connector. The
connectors are often color-coded according to the
type of signal they carry: white for the left audio
channel, and red for the right audio channel.
Ring
Stereo Phone
Connector
Sleeve
These connectors are primarily used for
balanced connections. These are the
connectors of choice for most professional
applications because the connectors themselves
are extremely durable and reliable, and some
feature a locking mechanism to prevent
accidental disconnection. Normally "male"
connectors are used for outputs and "female"
connectors are used for inputs.
Tip
Mono Phone
Connector
Speakon Connectors
This is a relatively new type of connector that is
becoming widely used for speaker connections
in professional applications. This type of
connector features easy connection as well as
high reliability.
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
13
Party and DJ
Dinner Presentation
Outdoor Dance Event
For formal or informal gatherings that require, at the most, a few microphones for speech
and an electronic musical instrument or two, a system like the one shown here should be
more than sufficient. An EMX62M supplies the mixing and output power, and the sound is
delivered to the crowd via a pair of BR15 speakers.
This relatively large system is designed to deliver dynamic full-spectrum sound that will
keep dancers and revelers on the floor. The high-capacity MG32/14FX console comfortably
handles a wide range of sources and signal-processing, while four P5000S power amplifiers
driving four S215V (C215V) speakers and SW118V (CW118V) subwoofers lay down sound
the dancers will delight in. Monitor sound is delivered via P3500S amps and SM12V
(CM12V) monitor speakers, and graphic EQ for feedback control.
■ System Chart
Mic:
1 ~ 4 channels
Scale-Big
■Sys t em C har t
Line:
Two stereo
Mic:
1 ~ 24 channels
Scale-Big
Scale:
Large room or restaurant with dinner tables
For Speech
For Music
Line:
Four stereo
Audience:
Approximately 50 people
Scale:
Public area with stage set up for music and a dance floor
For Speech
For Music
Audience:
500 people - audience and dancers
Scale-Small
■ Sam pl e A ppl i cati ons
Scale-Small
An ideal small system for presentations to small groups
Source
Phone Cable
■ Sam pl e A p p l i ca ti o ns
Large-scale support for outdoor school festivals or dance events
Source
M ICS 1 ~ 4
Keyboard
Mixer
E M X6 2 M
Speakon Cable
Phone Cable
XLR Cable
Good Reasons For Choosing Yamaha
EMX62M
• The most user-friendly model in the EMX lineup. The choice of a mono model means
that plenty of power is available for a variety of situations
• A CD player for background music can be directly connected
MICS 1~24
Guitar Amp Bass Amp
Drums
Mixer
Keyboard
CD Player etc.
Turntable x 2
AUX 4
AUX 3
AUX 2
AUX 1
Speaker
BR15
• The BR15 has a standard phone-jack connector allowing easy connecting via a
phone-jack speaker cable
ST OUT L
BR1 5
Speaker A
EMX62M
1
Speaker
BR15
2
Gain is the key to level control
The role of a sound system is basically to mix and amplify multiple sources
to the required level. Learning to set appropriate levels is vitally important
to achieving the best possible sound quality.
Mixer
1. The most important level adjustment is gain control. For the best mix
and sound, the gain of individual channels should be as high as possible
without distorting or clipping the signal. Some basic levels are given in
the chart below.
If your mixer has peak indicators, gain should be set so that they light
only occasionally on brief signal peaks.
2. Set the master fader about three-quarters of the way toward it's
maximum setting.
3. Use the channel faders to set the balance between the input sources.
Watch the level meters while doing this, and try to set the overall mix so
Yamaha Sound Reinforcement 2005
P 500 0 S
B
Input A
B
Output A
B
Output A
B
Q2031B
• Use both channels for feedback control and to deliver
the optimum monitor sound
P5000S, P3500S
• P Series power amplifiers provide ample high-quality
power to deliver authoritative bass and drive
multiple large speakers. The P5000S drives the main
speakers surrounding the dance area, and the
P3500S drives the subwoofer system that reinforces
the low end, as well as the SM12V (CM12V) stage
monitors
P 500 0 S
Input A
B
Input A
Speaker A
Input A
B
Speaker A
B
P 350 0 S
Input A
B
Input A
B
Speaker A
B
Speaker A
B
Speaker
1 Simple Steps To Better Sound
14
Q2 0 31B
Input A
Powered Mixer
MONO
Signal Processor
Power Amp
■Equi pm ent L i st
R
S215V, SW218V (C215V, CW218V)
• Large speakers with dual 15"woofers surround the
dance floor, and a dual 18"subwoofer supplies the
bass to keep the dancers happily on their feet
SM12V (CM12V)
• Four monitors on the stage provide solid monitor
sound that won't be drowned out by the excitement
going on all around
that the meters just reach peak level on the highest peaks that will be
encountered during the program.
■ G ai n Setti ng G ui de
Microphone:
Microphone:
Microphone:
Cassette/VTR
CD/LD
Speech
Soft Vocal
Loud Vocal
S2 1 5V
S 2 15V
S W 118 V
( C2 15 V)
( C2 15 V)
( CW 11 8V )
-50dB
-50dB
-40dB
-10dB
0dB
Power Amps
Turn the amplifier's attenuator or volume control up to the required level. The
important thing to remember is that you should not move the mixer's master
fader at this point. Use the power amplifier controls to set the overall level. In
powered mixers, however, the master fader doubles as the power amp
attenuator, and can be used to set the overall volume.
Good Reasons For Choosing Yamaha
MG32/14FX
• Enough input and output capacity to cover two band
setups on stage
• Pro-class input/output configuration allows serious
mixing and sound quality
• Two built-in digital SPX signal processing stages
provide plenty of signal processing versatility
M G 32/ 1 4F X
F.O.H
SM 1 2V S M 12V
S M 12V SM 1 2V
(C M12V ) (C M12V )
(C M12V ) ( CM 12 V)
MONITOR
■Equ i p me n t L i s t
Mixer
MG32/14FX
1
G.EQ
Q2031B
Power Amp
P5000S
3
Speaker
S215V (C215V)
4
Power Amp
P3500S
2
Woofer
SW118V (CW118V)
2
2
Monitor Speaker
SM12V (CM12V)
4
Yamaha Sound Reinforcement 2005
15
School and Business
Acoustic Music
■ Sam pl e A ppl i cati ons
A small system with superior portability and handling ease
Source
Phone Cable
Acoustic instruments often need
amplification to be heard and
appreciated by more than a
handful of people. Here’s a little
system that is ideal for such
applications, with room to
spare. Plug your electric-acoustic
guitars and microphones into an
EMX62M powered mixer that
directly drives a pair of BR10
speakers.
MICS 1~4
Electric-Acoustic Guitar
Mixer
EMX62M
Sp e a ke r A
Good Reasons For
Choosing Yamaha
EMX62M
• Built-in power for easy setup and
superior portability
• Limiter circuit prevents overload
• Super Hi-Z inputs allow direct connection
of electric-acoustic guitars. Ideal for an
acoustic duo!
■ S a mp l e App l i ca ti ons
Lecture Hall
Small but powerful for lectures and addresses
Source
Lecture hall sound systems require a surprising degree of
functionality – in addition to microphones, there are tape and
disc audio sources, audio from a video projector, and
computer sound output for OHP presentations. The MG8/2FX
mixer shown in this example is large and versatile enough to
handle all of the above and more. And a pair of MSR400
powered speakers delivers
enough power and quality
to project the sound to the
highest tier in the room.
MICS 1~4
XLR Phone Cable
CD Player etc.
Mixer
MG8/2FX
B
Speaker
BR10
• Compact, lightweight, and portable
■System Chart
Mic:
1 ~ 4 channels
Scale-Big
Line:
Two stereo
For Speech
MSR400
• High-efficiency, high-power performance
delivers the sound to the back of the lecture
hall
■Sys t em C har t
Mic:
1 ~ 4 channels
Scale-Big
For Music
Line:
Three stereo
Scale:
A room about the size of a
high-school classroom
Audience:
10 ~ 20 people
MG8/2FX
• Compact size with plenty of stereo line and
microphone inputs that can be used
simultaneously
• Can be mounted on a microphone stand
using the optional adaptor for easy-access
control
• Internal effects can be used to add depth to
background music or microphone sources
R
ST OUT L
Speaker
Good Reasons For
Choosing Yamaha
MSR400
Scale:
College lecture hall
BR1 0
For Speech
For Music
■ Equi pm ent L i st
Audience:
50 ~ 100 people
■Equ i p me nt L i s t
Powered Mixer
EMX62M
1
Mixer
MG8/2FX
1
Speaker
BR10
2
Powered Speaker
MSR400
2
Scale-Small
Scale-Small
Conference Room
The system shown here can deliver both optimum speech
intelligibility for meetings as well as quality music
reproduction for breaks. The compact MG10/2 mixer is a
perfect choice for this type of application, with enough
capacity and control features to cover just about any
conceivable situation. The MSR100 powered speakers deliver
superb sound quality and will directly accept a microphone
input when a mixer isn’t necessary.
■ Sam pl e A ppl i cati ons
The perfect small setup for meetings and presentations
Source
MICS 1~4
Phone Cable
Good Reasons For
Choosing Yamaha
CD Player etc.
Mixer
MG10/2
• Compact size with plenty of stereo line
and microphone inputs that can be used
simultaneously.
• Can be mounted on a microphone stand
using the Optional microphone stand
adaptor for easy-access control
MG10/2
■ S a mp l e App l i ca ti ons
Gymnasium
A mid-size system for sports and other gym events
Source
In addition to sports events, the "gym" also serves as a venue
for gatherings, meetings, and even movies and concerts.
Plenty of PA power and mix capacity is required to cover all
possibilities. Here’s a system that will do the job nicely
without being excessive: an EMX5000-12 powered mixer
driving a pair of BR15 speakers. Superb quality and useful
capacity without a lot of extra equipment.
ST OUT R
ST OUT L
MICS 1~8
Mixer
Speakon – Phone Cable
Good Reasons For
Choosing Yamaha
CD Player etc.
EMX5000-12
• Versatile mixing capability and high power
amplification built into a portable unit
• Graphic EQ for feedback control
EM X 5 000 - 12
Speaker A
S peaker B
Speaker
Speaker
MSR100
• 100-watt powered speaker is so small
and light tht one person can easily carry
two - on in each hand
■ System Chart
Mic:
1 ~ 4 channels
Scale-Big
■Sys t em C har t
Mic:
1 ~ 8 channels
Scale-Big
Line:
Four stereo
Line:
Two stereo
Scale:
Meeting or presentation room
For Speech
For Music
Scale-Small
16
Yamaha Sound Reinforcement 2005
Audience:
10 ~ 20 people
BR15
• The same large-diameter 15” drivers that
have made the Club Series speakers
leaders in their class
• Durable carpet finish withstands rough
use
Scale:
Gymnasium
M S R1 0 0
For Speech
For Music
■ Equi pm ent L i st
Mixer
MG10/2
1
Powered Speaker
MSR100
2
Audience:
100 ~ 200 people
BR1 5
■E qui p m ent L i st
Powered Mixer
EMX5000-12
1
Speaker
BR15
2
Scale-Small
Yamaha Sound Reinforcement 2005
17
School and Business
STAGEPAS 300
Point of Sale
A complete PA system designed from the start for
portability and convenience
There are a multitude of uses for small PA systems in markets and malls. Since
such applications usually require only a single microphone and amplification,
either the MSR100 or MS101II are good choices. Both accept direct microphone
input, and the MSR100 can be stand-mounted for broader coverage.
STAGEPAS 300
■ System Chart
• Perfect for public speaking, vocalists, guitarists ... just about
any performance or event requiring portability and convenience
combined with superior sound and versatility.
Mic:
One input
Scale-Big
Line:
Two inputs
• Eight-channel powered mixer with four microphone and two
stereo line inputs, 150W + 150W power, and digital reverb.
Scale:
Supermarket, mall, sales floor
For Speech
For Music
• High-performance two-way bass-reflex speakers double as
convenient storage for mixer and cables ... with enough room
left over for microphones and other articles you might need.
Audience:
Approximately 10 people
• The powered mixer can be operated while mounted in the
speaker cabinet, or separated for versatility and easy access.
Scale-Small
■ Sam pl e A ppl i cati ons
• Optional BMS10A Mic Stand Adaptor allows the mixer to be
mounted on a mic stand.
Small, simple, and portable for point-of-sale use
Source
XLR Phone Cable
■Sy st em Cha rt
MIC
Speaker
M S R1 0 0
Line:
Two stereo
MSR100 or MS101II
• High-power 100-watt speaker with direct microphone and line inputs
• Just one speaker and a CD player lets you provide background music
• All you need is a power outlet and it's ready to use
or
Mic:
Four inputs
Scale-Big
Good Reasons For Choosing Yamaha
Scale:
—
For Speech
For Music
Audience:
10 ~ 50 people
M S 1 0 1 II
Scale-Small
■Equi pm ent L i st
Powered Speaker
MSR100 or MS101 II
1
■ S a mp l e A ppl i c at i on s
3 Simple Steps To Better Sound
Connection and power switching order
Feedback control
Although simple, the following points will help you to keep your
speakers and sound gear in top condition for as long as possible.
Piercing squeals of feedback can put a damper on even the finest
performance. Feed back control is a vitally important part of live sound.
1. Check the relative positions of microphones and speakers - feedback is
caused by sound from the speakers being picked up again by the
microphones and “re-circulated”.
In many cases, feedback can be eliminated simply by adjusting the
positions of the speakers and microphones. Hand-held microphones
require extra care so that the performer doesn't move into the
“feedback zone”.
2. Use graphic EQ. If speaker and microphone positioning doesn't solve the
problem, use some graphic equalization. Begin by bringing the mixer
levels up to a point just before feedback begins - raise the microphoneinput channel faders and then raise the master fader until feedback
begins, then back off a bit. Start with the graphic EQ controls flat (set at
“0”) and, starting with the lowest frequency, raise each control a few
dB. If no feedback occurs, return the controls to “0” as you test each
frequency. If feedback occurs when
you boost one frequency, cut that
frequency by a few dB, and continue
testing the remaining frequency
bands. This procedure can be
effective in preventing feedback in
situations in which the microphones
and monitor speakers must be used
in close proximity.
Connecting Cables
Always make sure that all equipment is turned off when making
connections. Also make sure that all volume and level controls are
turned down to minimum before turning the power on.
Power ON/OFF Switching
When turning on the power to your system, follow the procedure
outlined below to protect your speakers from the power surge that
occurs when sound gear is switched on or off.
1. Turn on electric/electronic musical instruments and sources such as
CD or cassette players
2. Turn on the mixer
3. Turn on any graphic equalizers
4. Turn on the power amp(s)
Reverse this procedure when turning the system off.
See “Simple Steps To Better Sound – 2” for information on preventing
speaker overload and “Simple Steps To Better Sound – 3” for feedback
control hints.
Flat (0)
18
A complete PA system designed from the start for portability and convenience
2 Simple Steps To Better Sound
Yamaha Sound Reinforcement 2005
Raise (+)
Source
Speaker Cable (Supplied)
Keyboard
M I CS 1 ~4
Mixer & Speaker
Good Reasons For Choosing Yamaha
STAGEPAS 300
• Portability and convenience
• 300W powered mixer
• Eight-channel mixer
• Hi performance two-way bass-reflex speaker
• Five meter speaker cables included
STA G E PA S 30 0
■Eq u i pm e nt Li s t
Portable PA System
STAGEPAS 300
1
Cut (–)
Yamaha Sound Reinforcement 2005
19
Product Line Up
Tips 3
Product Line Up
The Yamaha pro audio lineup includes everything you need to achieve professional sound in applications ranging from small events to large
concerts. For serious power and system versatility, there is an excellent selection of independent components — mixers, amplifiers,
equalizers, speakers. But when convenience and ease are the main criteria, there's a good range of powered mixers and speakers to choose
from as well. Whatever your live sound needs, Yamaha has the solution.
Mixer
Mixing Console
Mixing Console
Powered Mixer
MG10/2
MG12/4
MG16/4
MG8/2FX
MG12/4FX
MG16/6FX
MG24/14FX
MG32/14FX
EMX62M
EMX66M
EMX68S
EMX88S
P. 22
Selecting PA Equipment
The term “PA system” can be applied to an extremely wide range
of equipment used to provide sound for an endless variety of
applications. Here’s a quick guide for selecting the right
equipment for your application.
Mixer
How Many Microphone Inputs?
• Meetings, lectures, and other speech-based applications may only require a small mixer with a few microphone
inputs. Live concerts, on the other hand, may involve microphones for vocals, chorus, and a multitude of musical
instruments. The number of microphone inputs you need is the first requirement you should consider when choosing
a mixer.
Reverb for Vocals
• If your application involves singing, you’ll probably want to add some reverb and/or delay to the vocal sound. You
could use external signal processing, but it might be more convenient to have this capability built right into the mixer.
The EMX-series powered mixers and MG-series mixers such as the MG16/6FX feature a range of top-quality built-in
effects.
Built-in Power
• Mixers with built-in power amplification are often simply referred to as “powered mixers.” The benefits of this type of
mixer include easier setup and greater portability (you don’t have to carry and connect an external power amplifier).
Powered mixers are recommended for applications such as meeting rooms or other situations in which the size of the
room and audience remains constant.
Signal Processor
(Graphic Equalizer)
Feedback Control
• Although you might think of graphic equalizers as precision sound-shaping tools (and they are), one of their main
uses in live-sound applications is feedback control.
• Graphic equalizers divide the audio spectrum into narrow frequency bands that can be individually adjusted as
required. The Yamaha Q2031B, for example, is a stereo graphic equalizer that provides 31 bands of adjustment per
channel. Feedback can be prevented by reducing the level of the frequencies at which it is likely to occur.
• EMX-series mixers feature built-in graphic EQ.
Power Amp
One Watt Per Person
• The power output of a PA system is determined by the power amplifier(s) used. So how much power do you need?
A basic rule of thumb is to allow about 1 watt per audience member. If your audience will be about 100 people, plan
on having about 100 watts of power available.
• The one-watt-per-person rule is only a guideline, however, and the actual power requirements will be affected by
many factors including the natural reverberation of the venue and the efficiency of the speakers used. Outdoor
applications require considerably more power than indoor events. The type of music being performed will also affect
the amount of power required. In all cases, it is a good idea to have some “extra” power to spare.
• Another important power-related issue to keep in mind is speaker protection. Speakers have a maximum powerhandling capacity that, if exceeded, will result in speaker damage. Speakers with a greater power-handling capacity
than the power output of the amplifiers used should always be chosen for safety.
P. 23
P. 22
Signal Processor
Powered Mixer
EMX5000-12
EMX5000-20
Professional
Multi-Effect Processor
SPX2000
P. 24
P. 24
Graphiic Equalizer
Q2031B
P. 24
Portable PA System
Power Amp
STAGEPAS
300
Power Amplifier
P7000S
P5000S
P3500S
P2500S
P. 31
Powered Speaker
P. 25
MSR400
* Professional sound engineers will generally use larger-than-necessary power amplifiers running at considerably lower than maximum output to maximize sound
quality. In such cases great care must be taken not exceed the speakers’ maximum power-handing capacity.
Powered Sub Woofer
MSR800W
Speaker Efficiency
• Clearly the power output of a sound system is an important consideration, for which output “watts” is the most
commonly used specification. But speaker efficiency also plays an important role in determining the “loudness” of the
system.
• Yamaha specifies speaker efficiency by measuring sound pressure level one meter away from the cone of a speaker
driven by one watt of power (dB SPL/1W, 1m). So for example, if 200 watts of power is supplied to the Yamaha
SM10V speaker, which has an efficiency of 96 dB SPL/1W, 1m, the resultant sound pressure level will be 119 dB. But
to achieve the same 119 dB sound pressure level with the SM15V, which has a higher efficiency of 99 dB SPL/1W, 1m,
only 100 watts of power is required. An efficiency difference of only 3 dB means you have to either double or halve
the amount of power provided to achieve the same sound pressure level (see below).
Speakers
P. 29
Speakers
Powered Speaker
Loud Speaker
Monitor
Sub Woofer
S112V
S115V
S215V
C112V
C115V
C215V
C112VA
C115VA
SM10V
SM12V
SM15V
CM10V
CM12V
CM15V
SW115V
SW118V
SW218V
CW115V
CW118V
CW218V
P. 26
MSR100
MS101 II
MS202 II
Loud Speaker
P. 30
AS108 II
AS312
P. 28
Loud Speaker
Monitor
BR10
BR12
BR15
BR10M
BR12M
BR15M
The Meaning of “dB”
If the smallest sound that can be heard by the human ear is given an arbitrary value of 1, then the
loudest sound that can be heard is approximately 1,000,000 (one million) times louder. That’s too
many digits to deal with for practical calculations, and so the more appropriate “decibel” (dB) unit
was created for sound-related measurements. In this system the difference between the softest and
loudest sounds that can be heard is 120 dB. This is a non-linear scale, and a difference of 3 dB
actually results in a doubling or halving of the loudness.
P. 27
Ratio
dB
0.01
0.1
0.5
1
2
4
5
8
10
100
1000
-20dB
-10dB
-3dB
0dB
3dB
6dB
7dB
9dB
10dB
20dB
30dB
* The decibel scale is a relative scale based on an arbitrarily chosen “0” value. In most audio equipment 0 db
corresponds to a signal voltage of 0.775 V.
20
+ 20 dBu
0.775V
The standard level for inputs and outputs on mixers
and most professional audio gear is +4 dBu.
0 dBu
- 20 dBu
- 40 dBu
- 60 dBu
Most electronic musical instruments and home audio
gear have a standard line output level of –10 dBu.
Microphone levels vary over a wide range,
depending on the sound source. Average speech is
about –30 dBu, the chirping of a bird might be less
than 50 dBu, and a drum at close range can be as
high as 0 dBu.
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
21
Product Line Up—Mixers
Product Line Up—Mixers
MG Series
MG10/2
MG8/2FX
MG12/4
MG12/4FX
MIXING CONSOLES
EMX62M/66M/68S/88S
MG16/4
MG16/6FX
MG24/14FX
MG32/14FX
POWERED MIXERS
I
F
or the ultimate in integration and convenience with professional-quality performance, take a look at these portable powerhouses. In one convenient unit,
you have a mixer to combine and balance your microphone and instrument sources, effects to add ambience to your sound, and power amplification to
drive house speakers and in some models even monitor speakers as well. Compare that to transporting, connecting, and setting up separate mixers, signal
processors and power amplifiers. In fact, these smoothly-integrated powered mixers are smaller, lighter, and actually more durable than comparable
component systems … and there have been no compromises in performance or power. In addition to totally clean, natural power, the EMX power amplifiers
feature Yamaha's unique EEEngine technology for extremely efficient operation with significantly reduced AC power consumption and heat generation. These
factors contribute to the lineup's light weight and compact dimensions as well. All models include graphic EQ and high-quality effects, and the EMX68S and
EMX88S in particular feature SPX digital effect technology with 24-bit AD/DA conversion and 32-bit internal processing, delivering professional-quality effects
that can contribute to your sound in many important ways.
f you need a high-performance analog mixer for music production or sound reinforcement,
the Yamaha MG Series may be the only place you need to look.
Featuring eight models ranging in size from small 8- or 10-channel/2-bus units through midsize 12- or 16-channel/4- or 6-bus models right up to very flexible 24- and 32-channel/14-bus
types with an impressive selection of built-in effects, the MG series offers a console for any
size application. There have been no compromises. These mixers are built for great sound,
total control, and superior reliability. In fact, they undergo the same rigorous quality and
reliability tests as our world-class PM-series mixing consoles. But, by taking full advantage of
the latest Yamaha technology and manufacturing techniques, we have been able to pack
these superlative mixers with more value than you’ll find anywhere else. In short, they offer
extraordinary performance and mixing power at remarkable prices.
EMX62M
EMX66M
EMX68S
EMX88S
S p ecificatio n s
MG10/2
MG8/2FX
MG12/4
MG12/4FX
-128 dBu Equivalent Input Noise/-100 dBu Residual Output Noise, 20 Hz – 20 kHz, Rs=150Ω, Input Gain=Maximum, Input sensitivity=-60 dB *3
Input Hum & Noise *1
-70 dB @ 1 kHz
Crosstalk
+ 48 V
Phantom Power
80 Hz 12 dB/Octave
CH & ST High Pass Filter
Output
MG16/6FX
-3, 0, +1 dB 20 Hz – 20 kHz @ +4 dBu (ST OUT)
Frequency Response
Input
MG16/4
Less than 0.1 % (THD+N) 20 Hz – 20 kHz @ +14 dBu (ST OUT) *3
Total Harmonic Distortion
MIC: 4, LINE: 2 mono + 4 stereo,
MIC: 4, LINE: 2 mono + 3 stereo,
MIC: 6, LINE: 4 mono +4 stereo,
MIC: 6, LINE: 4 mono +4 stereo,
MIC: 10, LINE: 8 mono +4 stereo,
MIC: 10, LINE: 8 mono +4 stereo,
CH INSERT: 2, AUX RTN: 1 stereo,
CH INSERT: 2, AUX RTN: 1 stereo,
CH INSERT: 4, AUX RTN: 1 stereo,
CH INSERT: 4, AUX RTN: 1 stereo,
CH INSERT: 8, AUX RTN: 1 stereo,
CH INSERT: 8, AUX RTN: 1 stereo,
2TR IN: 1
2TR IN: 1
2TR IN: 1
2TR IN: 1
2TR IN: 1
2TR IN: 1
ST: 1, AUX SEND: 2,
ST: 1, AUX SEND: 1,
ST: 1, AUX SEND: 2,
ST: 1, AUX SEND: 1,
ST: 1, AUX SEND: 2,
ST: 1, AUX SEND: 2,
CH INSERT: 2, REC: 1 stereo,
CH INSERT: 2, REC: 1 stereo,
CH INSERT: 4, REC: 1 stereo,
CH INSERT: 4, REC: 1 stereo,
CH INSERT: 8, REC: 1 stereo,
CH INSERT: 8, REC: 1 stereo,
C/R: 1 stereo
C/R: 1 stereo
C/R: 1 stereo, GROUP: 2
C/R: 1 stereo, GROUP: 2
C/R: 1 stereo, GROUP: 2
C/R: 1 stereo, GROUP: 4
CH EQ (MONO) *2 ±15 dB (Max.)
100 Hz (Shelving), 2.5 kHz (Peaking), 10 kHz (Shelving)
100 Hz (Shelving), 0.25 – 5 kHz (Peaking),
CH EQ (STEREO) *2 ±15 dB (Max.)
100 Hz (Shelving), 2.5 kHz (Peaking), 10 kHz (Shelving)
100 Hz (Shelving), 800 Hz (Peaking),
10 kHz (Shelving)
3 kHz (Peaking), 10 kHz (Shelving)
–
Graphic Equalizer
7-band (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz)
±12 dB (Max.)
Internal Digital Effect
Dimensions (W x H x D)
–
16 Programs: Parameter Control
5.0 kg
1.8 kg
16 Programs: Parameter Control
423 x 108 x 416.6mm
5.2 kg
5.5 kg
19W 120V / 60 Hz
20W 120V / 60 Hz
29W 120V / 60 Hz
30W 120V / 60 Hz
36W 120V / 60 Hz
51W 120V / 60 Hz
20 W 220V / 50, 60 Hz
29W 220V / 50, 60 Hz
30W 220V / 50, 60 Hz
36W 220V / 50, 60 Hz
51W 220V / 50, 60 Hz
20W 230V / 50 Hz
29W 230V / 50 Hz
30W 230V / 50 Hz
36W 230V / 50 Hz
51W 230V / 50 Hz
19W 240V / 50Hz
20W 240V /50 Hz
29W 240V / 50 Hz
30W 240V / 50Hz
36W 240V / 50Hz
51W 240V / 50Hz
Mic Stand Mountable
Foot Switch Jack (ON/OFF)
Rack Mountable
Foot Switch Jack (ON/OFF)
Rack Mountable
Rack Mountable
–
–
Mic Stand Mountable
Option
–
19W 220V / 50, 60 Hz
19W 230V / 50 Hz
Other
16 Programs: Parameter Control
322 x 108 x 416.6 mm
251 x 65 x 290.5 mm
Weight
Power Requirements *4
–
Mic Stand Adapter BMS-10A
Rack Mountable
Mic Stand Adapter BMS-10A
–
Foot Switch FC5
S p e c i fi c a tio ns
Foot Switch FC5
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation.
*2 Turn over /roll-off frequency of shelving : 3 dB below maximum variable level.
*3 (CH,12): MG10/2, (CH1-4): MG12/4, (CH1-8): MG16/4, MG16/6FX.
*4 Power Supply Adaptor PA-10 (MG10/2,MG8/2FX), PA-20 (MG12/4,MG16/4,MG12/4FX), PA-30 (MG16/6FX).
MG24/14FX
Total Harmonic Distortion
Input Hum & Noise *1
MG32/14FX
FC-5 Foot Switch
0 +1, -3 dB, 20 Hz – 20 kHz @ +4 dBu (ST OUT)
-128 dBu Equivalent Input Noise/-99 dBu Residual Output Noise
EMX66M
EMX68S
EMX88S
200W/4ohms, 135W/8ohms
Phantom Power
Graphic Equalizer
Digital Effects
MIC: 4, LINE: 4, AUX IN: 1,
2TR IN: 1 stereo
Main: 1, Monitor: 1, Effect: 1, Rec: 2,
Phones: 1, Speaker: 2
10kHz shelving
–
100Hz shelving
+15V
7 band (125, 250, 500, 1k, 2k, 4k, 8kHz)
3 programs
300W+300W/4ohms, 205W+205W/8ohms,
600W/8ohms bridge
MIC: max.6, LINE: 4, AUX IN: 1,
2TR IN: 1 stereo
MIC: max.6, LINE: 4, AUX IN: 1,
2TR IN: 1 stereo
10kHz shelving
2.5kHz peaking
100Hz shelving
+15V
7 band (125, 250, 500, 1k, 2k, 4k, 8kHz)
8 programs
Power Amp. Mode
Main
Main + Main, Main + Monitor, Main Bridge
Yamaha Speaker Processing
Stand-by switch
Foot Switch
Dimensions (W x H x D): mm
Weight
Power Requirements
/Consumption
Yes
–
Effect On/Off
481.5 x 305 x 327.6
12 kg
120V AC 60Hz 110W,
240V AC 50Hz 110W,
230V AC 50Hz 110W
RK-88 (Rack Mount Kit),
FC-5 (Foot Switch)
Yes
–
Effect On/Off
481.5 x 305 x 327.6
15 kg
120V AC 60Hz 250W,
240V AC 50Hz 300W,
230V AC 50Hz 300W
RK-88 (Rack Mount Kit),
FC-5 (Foot Switch)
400W+400W/4ohms, 270W+270W/8ohms,
800W/8ohms bridge
MIC: max.6, LINE: 2 stereo,
AUX IN: 1 stereo, 2TR IN: 1 stereo
Main: 1 stereo, Monitor: 1, Effect: 1,
Rec: 1 stereo, Speaker: 2 x 2, Bridge: 1
10kHz shelving
2.5kHz peaking
100Hz shelving
+15V
7 band (125, 250, 500, 1k, 2k, 4k, 8kHz)
SPX Digital Multi Effector
(24bit AD/DA, 32bit Internal Processing)
16 programs
ST L + ST R, Main (L+R) + Monitor,
Main (L+R) Bridge
Yes
Yes
Effect On/Off, TAP
481.5 x 305 x 327.6
15.5 kg
120V AC 60Hz 300W,
240V AC 50Hz 350W,
230V AC 50Hz 350W
RK-88 (Rack Mount Kit),
FC-5 (Foot Switch)
400W+400W/4ohms, 270W+270W/8ohms,
800W/8ohms bridge
MIC: max.8, LINE: 6 mono + 2 stereo,
AUX IN: 1 stereo, 2TR IN: 1 stereo
Main: 1 stereo, Monitor: 1, Effect: 1,
Rec: 1 stereo, Speaker: 2 x 2, Bridge: 1
10kHz shelving
2.5kHz peaking
100Hz shelving
+15V
7 band (125, 250, 500, 1k, 2k, 4k, 8kHz)
SPX Digital Multi Effector
(24bit AD/DA, 32bit Internal Processing)
16 programs
ST L + ST R, Main (L+R) + Monitor,
Main (L+R) Bridge
Yes
Yes
Effect On/Off, TAP
481.5 x 305 x 327.6
15.5 kg
120V AC 60Hz 300W,
240V AC 50Hz 350W,
230V AC 50Hz 350W
RK-88 (Rack Mount Kit),
FC-5 (Foot Switch)
Options
Less than 0.1 % (THD+N), 20 Hz – 20 kHz @ +14 dBu (ST OUT)
Frequency Response
EMX62M
Maximum Output Power
@0.5% THD at 1kHz
Input Connectors
for MG8/2FX, MG12/4FX
Output Connectors
EQ
20 Hz – 20 kHz, Rs=150Ω, Input Gain=Maximum, Input Pad =OFF,
Input sensitivity=-60 dB-70 dB @ 1 kHz
-70dB @ 1kHz
Crosstalk
+ 48 V
Phantom Power
80 Hz 12 dB/Octave
CH & ST High Pass Filter
Input
MIC: 16 + 1, LINE: 16 mono + 4 stereo, CH INSERT: 16,
MIC: 24 + 1, LINE: 24 mono + 4 stereo, CH INSERT: 24,
AUX RTN: 2 stereo, 2TR IN: 1, ST INSERT: 1,
Output
AUX RTN: 2 stereo, 2TR IN: 1, ST INSERT: 1,
GROUP INSERT: 4
GROUP INSERT: 4
ST, MONO, AUX SEND: 6, CH INSERT: 16, REC: 1 stereo,
ST, MONO, AUX SEND: 6, CH INSERT: 24, REC: 1 stereo,
C/R: 1 stereo, GROUP: 4, FX: 2
C/R: 1 stereo, GROUP: 4, FX: 2
CH EQ (MONO) *2 ±15 dB (Max.)
100 Hz (Shelving), 0.25-5 kHz (Peaking), 10 kHz (Shelving)
CH EQ (STEREO) *2 ±15 dB (Max.)
100 Hz (Shelving), 800 Hz (Peaking), 3 kHz (Peaking), 10 kHz (Shelving)
MONO Out Low Pass Filter
Internal Digital Effect
Dimensions (W x H x D)
Weight
Power Requirements
HIGH
MID
LOW
80 – 120 Hz 12dB/octave
SPX x 2 (Effect 1: 16 Programs, Effect 2: 16 Programs, Parameter Control)
819 x140 x 551mm
1027 x 140 x 551mm
18.5 kg
22 kg
100W 120V / 60 Hz
120W 120V / 60 Hz
BMS10A Mic Stand Adapter
100W 220V / 50 Hz
120W 220V / 50 Hz
for MG10/2, MG8/2FX
100W 230V / 50 Hz
120W 230V / 50 Hz
Option
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation.
*2 Turn over /roll-off frequency of shelving : 3 dB below maximum variable level.
22
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
23
Product Line Up—Mixers & Signal Processors
Product Line Up—Power Amplifier
EMX5000-12/20
P Series
F
T
POWERED MIXER
POWER AMPS
or serious input capacity and power, the 12-channel EMX5000-12 and 20-channel EMX5000-20 powered mixers are worthy of
consideration. Both feature a 500-watt per channel multi-mode stereo power section that will fill even fairly large venues with top-quality
sound. And although they're designed for convenience and portability, both models deliver features and performance that will satisfy even the
most discerning performers and sound engineers. Yamaha expertise and technological innovation is even at work in the details that deliver
subtle but vital improvements in the overall sound: superior RF rejection and exceptionally clean, transparent head amplifiers are just two
examples. These models also feature SPX digital effect technology with 24-bit AD/DA conversion and 32-bit internal processing.
EMX5000-12
S p ecificatio n s
Output Connectors
EQ
HIGH
MID
LOW
Phantom Power
Graphic Equalizer
Digital Effects
Power Amp. Mode
Power Select Switch
Yamaha Speaker Processing
Low Pass Filter
Stand-by switch
LAMP Connector
Foot Switch
Dimensions (W x H x D): mm
Weight
Power Requirements
/Consumption
Option
P7000S
EMX5000-12
EMX5000-20
500W+500W/4ohms, 325W+325W/8ohms,
1000W/8ohms bridge
MIC: 8, LINE: 4 stereo, ST SUB IN: 2 stereo,
INSERT: 8, 2TR IN: 1 stereo, POWER AMP IN: 2
ST OUT: 1 stereo, ST SUB OUT: 1 stereo,
MONO OUT: 1, AUX SEND: 2, EFFECT SEND: 2,
REC OUT: 1 stereo, CH INSERT OUT: 8
10kHz shelving
250Hz-5kHz peaking
100Hz shelving
+48V
9 band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz)
DUAL SPX Digital Multi Effector
(24bit AD/DA, 32bit Internal Processing)
Effect 1, 2 (16 programs each)
ST L + ST R, Aux1 + Mono, Aux1 + Aux2,
MONO Bridge
500W / 300W / 100W
Yes
Yes (MONO OUT)
Yes
Yes (XLR 3pins)
Effect 2 On/Off, TAP
478 x 158 x 538
15 kg
120V AC 60Hz 400W, 240V AC 50Hz 550W,
230V AC 50Hz 550W
RK-124 (Rack Mount Kit), FC-5 (Foot Switch)
500W+500W/4ohms, 325W+325W/8ohms,
1000W/8ohms bridge
MIC: 8, LINE: 4 stereo, ST SUB IN: 2 stereo,
INSERT: 8, 2TR IN: 1 stereo, POWER AMP IN: 2
ST OUT: 1 stereo, ST SUB OUT: 1 stereo,
MONO OUT: 1, AUX SEND: 2, EFFECT SEND: 2,
REC OUT: 1 stereo, CH INSERT OUT: 8
10kHz shelving
250Hz-5kHz peaking
100Hz shelving
+48V
9 band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz)
DUAL SPX Digital Multi Effector
(24bit AD/DA, 32bit Internal Processing),
Effect 1, 2 (16 programs each )
ST L + ST R, Aux1 + Mono, Aux1 + Aux2
MONO Bridge
500W / 300W / 100W
Yes
Yes (MONO OUT)
Yes
Yes (XLR 3pins)
Effect 2 On/Off, TAP
682 x 158 x 538
19 kg
120V AC 60Hz 400W, 240V AC 50Hz 550W,
230V AC 50Hz 550W
FC-5 (Foot Switch)
EMX5000-20
So what does this YSP (Yamaha Speaker Processing)
switch do, anyway? Glad you asked: it rolls off
unnecessary frequencies below around 40 Hz, which
helps to protect your speakers, and at the same time
boosts frequencies from 60 Hz through 150 Hz by about
3 or 4 dB which, as you rocket scientists already know, is
a sound-pressure-level boost of about 1.5 times. And
although this won’t give you the bone-shaking bass of a
subwoofer, it will make your bass and drums sound really
cool. If you’re reinforcing rock, turn it on.
P5000S
S115V/SM15V
P3500S
P2500S
The SPX2000, while inheriting the standard interface and common
programs from its predecessors, brings a new sound quality with the
“REV-X” reverb algorithm and the 24 bit/96-kHz audio DSP.
Yamaha Graphic Equalizers offer features and performance that meet today's
equalization needs whether they be in sound reinforcement, recording, A/V
production, electronic musical instruments, broadcasting, music listening, or
any other applications where precise sound tailoring is essential.
70
84
86
87
88
89
90
● 31 band (1/3 octave) ● Variable Range: +/- 12dB , +/- 6dB ● HPF: 12dB/octave (20 - 200Hz at -3dB point.) ● AC 120V,
60Hz, AC 230V, 50Hz ● 20W ● 480 x 93.4 x 230mm, 4.0kg
91
92
93
94
95
2001
02
03
04
3rd generation
Latest generation
SPX1000 SPX900
SPX990
SPX2000
SPX90
SPX90II
SPX50D
P7000S
P5000S
P3500S
P2500S
750W+750W
525W+525W
390W+390W
275W+275W
1100W+1100W
750W+750W
590W+590W
390W+390W
THD+N=0.1%
8 ohms/BRIDGE
2000W
1500W
1180W
780W
20Hz – 20kHz, half power
0.1%
Intermodulation Distortion
60Hz: 7kHz, 4:1, half power
0.1%
Po=1W, RL=8 ohms
half power
RL=8 ohms
Att.max
input 600 ohms shunt
Residual noise Att. min
DIN AUDIO
S/N ratio
DIN AUDIO
Voltage Gain
Att.max
0dB, +0.5dB, -1dB f=20Hz-50kHz
70dB 1kHz
70dB
104dB
REV1
DSP reverb
24
20-bit/44.1 kHz
pre/post dyn FX
Stereo input with XLR connector
Connectors
24-bit/96 kHz
AES/EBU In/Out
REV-X
REV7
90 type presets
16-bit /31.25 kHz
Yamaha Sound Reinforcement 2005
Entry model of SPX
Good for the guitarists
Digital distortion
103dB
102dB
100dB
32.1dB
Input Impedance
30KΩ (balance) 15kΩ (unbalance)
Input
XLR-3-31 type/ch, 1/4""TRS/ch"
SPEAKON, 5way biding post, 1/4""phone/ch"
Limiter Circuit
comp. :THD 0.5%
Cooling
Dual variable-speed fan
Power Requirements
Idle Power Consumption
Maximum Power Consumption (4 ohms)
Dimensions (W x H x D): mm
Before SPX
10k
4 ohms/STEREO
Output
1st generation
1k
8 ohms/STEREO
THD+N
Channel Separation
2nd generation
16-bit/44.1 kHz
Multiple FX
Stereo input (SPX1000)
Digital In/Out (SPX1000)
100
20Hz–20kHz
Output Power
The good reputation from users keeps our SPX effects as standard effects over 15 years...
85
20
S p e c i fi c a tio ns
Frequency Response
1983
80
FREQUENCY(Hz)
Q2031B
SPX History
90
60
SPX2000
● 24-bit Liner 128-times/64-times Oversampling (@fs=44.1,48kHz/88.2,96kHz) ● PRESET BANK: 97, USER BANK:
99, CLASSIC BANK: 25 ● AC 120V, 60Hz, AC 230V, 50Hz, 25W ● 480W x 45H x 372.5D mm, 4kg
YSP/ON
100
GRAPHIC EQUALIZER
PROFESSIONAL MULTI-EFFECT PROCESSOR
Frequency Response
110
RESPONSE(dB)
Maximum Output Power
@0.5% THD at 1kHz
Input Connectors
he P Series power amplifiers have been designed specifically to deliver big, clean power output that will take full advantage of the
quality and power handling capabilities of Yamaha speakers. The amps are equipped with YS Processing (Yamaha Speaker Processing)
to deliver a signal that is optimally matched to those speakers as well. All models feature both XLR and 1/4-inch TRS inputs, and Neutrik
Speakon, phone plug, and five-way binding post outputs to make connections quick and easy. Other features include Yamaha's exclusive
EEEngine technology which delivers high performance with exceptional efficiency, sweepable high- and low- pass filters for optimizing
output to any loudspeakers, compact and durable 2U chassis, and variable speed cooling fans.
Weight
Single variable-speed fan
20V 60Hz, 230V 50Hz, 240V 50Hz
35W
35W
30W
25W
4000W
3000W
2000W
1600W
12kg
15kg
14kg
480 x 88 x 456
12kg
• 0dB=0.775V • half power=1/2 output power
*Output power into 8Ω stereo (20Hz–20kHz) on the P7000S 230V model is 650W + 650W.
Yamaha Sound Reinforcement 2005
25
Product Line Up—SR Speakers
Product Line Up—SR Speakers
Club V Loudspeakers S-Series & C-Series
Great Sound To Go
S112V
S215V
S115V
SW118V
SW115V
SM15V
SM10V
SM12V
I
f you’re tired of breaking your back for mediocre speaker performance, it’s time to
look at the Yamaha Club V S-Series. Although they easily load into and out of your
compact sedan, they also deliver power and performance that makes them ideal for up
to mid-sized sound reinforcement systems. And in the world of the touring PA, there’s
virtually no way you can cart gear around without bumping into the occasional
immovable object, so you’ll appreciate the durable carpet covering – which also
protects the interior of your vehicle from the speakers. Heavy-gauge steel grilles and
steel protectors help protect your investment, too.
In the Club V S-Series the refinements of generation V are taken to the next level, with
larger enclosures for improved low-frequency performance, improved drivers for higher
power handling, re-designed crossovers, stronger grilles, and dual Speakon® and 1/4"
connectors.
C115VA
C112VA
Nominal Impedance
Sensitivity
LF Driver
HF Driver
Crossover Frequency
Finish
Input Connectors
Dimensions (W x H x D mm)
Net Weight
BR10
BR15M
BR12M
Great Sound and Easy handling
T
he Club V C-Series includes two “VA” flyable models that are ideal for
installations. In fact, the entire series features foam-backed full-face perforated
steel grilles and a sprayed finish that makes for elegant yet unobtrusive installations.
Performance-wise, the C-Series speakers offer the same specs as the S-Series, with
large enclosures for improved low-frequency performance, improved drivers for higher
power handling, re-designed crossovers, stronger grilles, and dual Speakon® and 1/4"
connectors.
W
hether you’re playing to a rock ‘n roll, jazz, or classic crowd, or delivering an important spoken message, Yamaha BR-Series speakers will ensure that
you’re heard clearly. With the right powered mixer, or standard mixer and power amplifiers, these units can pack a heck of a wallop … make that a
“high-quality wallop.” But when the show is done and it’s time to tear down the system and go home, you’ll appreciate these speakers a second time –
they’re compact, remarkably light for their power and performance, and are designed for easy handling.
S pe ci fic at io n s
*S-series are carpet finish, C-series are sprayed finish.
Club V S- & C- series
Type
Frequency Range
Power Capacity
BR15
BR12
SW218V
Superior Sound on the Ground
or Overhead
S p ecificatio n s
BR-Series Speakers
BR-Series
S112V, C112V
S115V, C115V
S215V, C215V
SM10V, CM10V
SM12V, CM12V
SM15V, CM15V
12" 2 way bass reflex
60Hz - 16kHz (-10dB)
175 watts (NOISE)*
350 watts (PGM)
700 watts (MAX)
8 ohms
97dB
12" cone
2" vc, Titanium Horn
2 kHz
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 420 x 632 x 333
C: 416 x 628 x 329
S: 20.8 kg, C:21.3 kg
15" 2 way bass reflex
55Hz - 16kHz (-10dB)
250 watts (NOISE)*
500 watts (PGM)
1000 watts (MAX)
8 ohms
99dB
15" cone
2" vc, Titanium Horn
1.7 kHz
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 489 x 719 x 377
C: 485 x 715 x 373
S: 29.4 kg, C: 30.3 kg
15" x 2 2 way bass reflex
42Hz - 16kHz (-10dB)
500 watts (NOISE)*
1000 watts (PGM)
2000 watts (MAX)
4 ohms
99dB
15" cone x 2
2" vc, Titanium Horn
1.5 kHz
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 495 x 1167 x 597
C: 491 x 1163 x 593
S: 47.2 kg, C: 47.5 kg
10" 2 way bass reflex
70Hz - 20kHz (-10dB)
125 watts (NOISE)*
250 watts (PGM)
500 watts (MAX)
8 ohms
96dB
10" cone
1" vc, Titanium Horn
1.8 kHz
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 560 x 353 x 277
C: 556 x 349 x 273
S: 13.4 kg, C: 13.3 kg
12" 2 way bass reflex
60Hz - 16kHz (-10dB)
175 watts (NOISE)*
350 watts (PGM)
700 watts (MAX)
8 ohms
97dB
12" cone
2" vc, Titanium Horn
2 kHz
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 632 x 414 x 351
C: 628 x 410 x 339
S: 21.4 kg, C: 21.8 kg
15" 2 way bass reflex
55Hz - 16kHz (-10dB)
250 watts (NOISE)*
500 watts (PGM)
1000 watts (MAX)
8 ohms
99dB
15" cone
2" vc, Titanium Horn
1.7 kHz
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 719 x 483 x 343
C: 715 x 479 x 339
S: 28.0 kg, C: 28.8 kg
SW115V, CW115V
SW118V, CW118V
SW218V, CW218V
C112VA
C115VA
15" Bass reflex
35Hz - 2kHz (-10dB)
250 watts (NOISE)*
500 watts (PGM)
1000 watts (MAX)
8 ohms
95dB
15" cone
–
90Hz, 12dB/Oct.
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 506 x 611 x 532
C: 500 x 607 x 528
S: 28.2 kg, C: 28.0 kg
18" bass reflex
30Hz - 2kHz (-10dB)
300 watts (NOISE)*
600 watts (PGM)
1200 watts (MAX)
8 ohms
96dB
18" cone
–
90Hz, 12dB/Oct.
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 610 x 728 x 641
C: 605 x 720 x 637
S: 39.0 kg, C: 37.2 kg
18" x 2 Bass reflex
30Hz - 2kHz (-10dB)
600 watts (NOISE)*
1200 watts (PGM)
2400 watts (MAX)
4 ohms
98dB
18" cone x 2
–
90Hz, 12dB/Oct.
S: Carpet, C: Sprayed
1/4" Phone x 2,
Speakon x2
S: 1221 x 578 x 659
C: 1217 x 574 x 655
S: 65.4 kg, C: 64.7 kg
12" 2 way bass reflex
60Hz - 16kHz (-10dB)
175 watts (NOISE)*
350 watts (PGM)
700 watts (MAX)
8 ohms
97dB
12" cone
2" vc, Titanium Horn
2 kHz
Sprayed
Barrier strip
15" bass reflex
55Hz - 16kHz (-10dB)
250 watts (NOISE)*
500 watts (PGM)
1000 watts (MAX)
8 ohms
99dB
15" cone
2" vc, Titanium Horn
1.7 kHz
Sprayed
Barrier strip
416 x 620 x 329
485 x 715 x 373
21.8 kg
29.9 kg
Type
Frequency Range
Power Capacity
Nominal Impedance
Sensitivity
LF Driver
HF Driver
Finish
Input Connectors
Dimensions (W x H x D mm)
Net Weight
BR10
BR12
BR15
BR12M
BR15M
10" 2 way bass reflex
65Hz - 20kHz (-10dB)
125 watts (NOISE)*
250 watts (PGM)
500 watts (MAX)
8 ohms
96dB
10" cone
1" vc, Titanium Horn
Carpet
1/4" Phone x 2
375 x 537 x 326
14.4 kg
12" 2 way bass reflex
60Hz - 20kHz (-10dB)
150 watts (NOISE)*
300 watts (PGM)
600 watts (MAX)
8 ohms
97dB
12" cone
1" vc, Titanium Horn
Carpet
1/4" Phone x 2
403 x 569 x 335
16 kg
15" 2 way bass reflex
60Hz - 20kHz (-10dB)
200 watts (NOISE)*
400 watts (PGM)
800 watts (MAX)
8 ohms
98dB
15" cone
1" vc, Titanium Horn
Carpet
1/4" Phone x 2
485 x 656 x 365
21.3 kg
12" 2 way bass reflex
60Hz - 20kHz (-10dB)
150 watts (NOISE)*
300 watts (PGM)
600 watts (MAX)
8 ohms
97dB
12" cone
1" vc, Titanium Horn
Carpet
1/4" Phone x 2
569 x 407 x 334
15.6 kg
15" 2 way bass reflex
60Hz - 20kHz (-10dB)
200 watts (NOISE)*
400 watts (PGM)
800 watts (MAX)
8 ohms
98dB
15" cone
1" vc, Titanium Horn
Carpet
1/4" Phone x 2
652 x 487 x 365
20.9 kg
*EIA RS426A
*EIA RS426A
Club V S- & C- series
Type
Frequency Range
Power Capacity
Nominal Impedance
Sensitivity
LF Driver
HF Driver
Crossover Frequency
Finish
Input Connectors
Dimensions (W x H x D mm)
Net Weight
*EIA RS426A
26
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
27
Product Line Up—SR Speakers
Product Line Up—SR Speakers
AS-Series Speakers
MSR400 NEW MSR800W NEW
xposure is what you need if you want to get ahead as an artist or performer, and it’s what your speakers are going to get if you start using them outdoors. But
playing outdoors in public areas (with proper permission, of course) can open doorways to better things, so you’ll want to use speakers that can handle it. The AS
Series speakers are ideal for this type of application. Both the AS108II and AS312 feature a durable ACX textured coating that protects them from damage and the
elements, and a rugged steel grille that protects the speakers from indiscriminately placed feet, guitar necks, or flying objects that could put your career on hold until
repairs are made. A built-in pole socket lets you mount them on most standard speaker stands so your sound gets right to the back of the crowd. The features
continue on the inside. The “AS” in the model name refers to these speakers’ acoustic suspension system, consisting of a long-travel composite woofer with a butyl
rubber surround, and a compression style tweeter mated to a 60 by 40 degree horn for long throw and smooth coverage. Put it all together and you have great sound
in a very portable system.
T
POWERED SPEAKER
E
Double Exposure
MSR800W
S pe ci fic at io n s
AS-Series
Nominal Impedance
Sensitivity
Nominal Dispersion
LF Driver
MF Driver
HF Driver
Finish
Input Connectors
Dimensions (W x H x D mm)
Net Weight
MSR400
Piggyback Powerhouse
p ecificatio n s
Type
Frequency Range
Power Capacity
here are many advantages to using powered speakers – the most obvious being that you
don’t have to drag separate power amplifiers around or find a convenient place to install
them. Fewer cables need connection as well. There are, also, real sonic advantages. The
performance of an amplifier/speaker system depends to a considerable degree on the matching
between the power amplifier and loudspeaker; a surprisingly complex relationship that involves
impedances, amplifier loading, reflected EMF, damping, and a variety of other factors best left
to the guys with the scientific calculators. Fortunately, these things are pretty much
standardized, so you can connect just about any speaker of the appropriate impedance and
power handling capacity to an amplifier and get decent results. But in a powered speaker like
the MSR400, or a powered subwoofer like the MSR800W, everything can be (and is) matched
to perfection for optimum performance. All you have to do is connect your line or microphonelevel source.
For a simple system, you can use just a pair of MSR400s and a small mixer (actually, these
models have microphone inputs as well as line inputs, with gain controls, so in a pinch you can
connect a microphone directly to the speaker). The MSR400 employs bi-amplification for the
best possible sound across the entire audio spectrum. But if you want serious low end, we
suggest that you pair each speaker with a MSR800W subwoofer that features a 800 watts
power amplifier driving a 15" woofer in a specially designed bass-reflex enclosure that can
deliver bass your audience will feel as well as hear. A simple pole stand adaptor allows an
MSR400 to be piggybacked on each MSR800W for optimum positioning, phasing, and overall
sound.
AS312
AS108II
S
POWERED SUBWOOFER
Type
AS108II
AS312
8" 2 way Acoustic suspention
55Hz - 20kHz (-10dB)
70 watts (NOISE)*
140 watts (PGM)
280 watts (MAX)
8 ohms
88dB
60H x 40V C.D.
8" Long Throw with Rubber surround
—
1" vc, Horn
Sprayed
1/4" Phone x 2
264 x 425 x 352
12.7kg
3 way Acoustic suspention
50Hz - 20kHz (-10dB)
90 watts (NOISE)*
180 watts (PGM)
360 watts (MAX)
8 ohms
97dB
60H x 40V C.D.
12" Long Throw with Rubber surround
4-1/4" high-Compliance
1" vc, Horn
Sprayed
1/4" Phone x 2
390 x 573 x 422
19.9kg
Frequency Range
Maximum Output Level (SPL)
LF Driver
HF Driver
Maximum Output Power
Input sensitivity
Controls
Connectors
Power Requirement
*IEC RS-426
Power Consumption
Finish
Dimensions (W x H x D mm)
Net Weight
MSR400
MSR800W
Amplified 2 way bass reflex powered speaker
(Bi-amplified electronic cross over network)
50Hz - 20kHz (-10dB)
121dB (1m)
12" cone
1.75"V.C, Compression Driver
LF: 225W, RL=4Ω
HF: 75W, RL=16Ω
Burst Power: 400W Total
LINE: +4dB*
MIC: -36dB*
Level Control, EQ (High, Low), Power switch
1: XLR-3-31 balanced
2: XLR-3-32 balanced
3: PHONE balanced
AC120V 60Hz, AC230V 50Hz, AC240V 50Hz, AC220V 50Hz /60Hz,
AC110V 60Hz
110W
Polypropylene
406 x 667 x 351
23kg
Amplified bass reflex powered subwoofer
40Hz - 120Hz
122dB (1m)
15" cone
—
500W at 100Hz. THD=1%, RL=8Ω
Burst Power: 800W
+4dB
—
Master Level Control, Cutoff Freq. Control, Phase Switch, Power switch
Input (ch-A & B): XLR-3-31 (balanced)
THRU Out (ch-A & B): XLR-3-32 (balanced)
High Pass Out (ch-A & B): XLR-3-32 (balanced) (100Hz, 18dB/oct, +4dB)
AC120V 60Hz, AC230V 50Hz, AC240V 50Hz, AC220V 50Hz
200W
Black sprayed
600 x 521 x 590
45 kg
* 0dB=0.775V
4 Simple Steps To Better Sound
Why use monitor speakers?
While the purpose of the main or “FOH” (Front Of House) speakers is to deliver
the sound to the audience, monitor speakers are necessary to provide a sound
reference to the speakers or musicians performing on stage. This was sometimes
also known as “foldback”. A monitor system allows performers to clearly hear
what they are saying, singing, or playing so that they can perform with
confidence and provide performances of the highest quality. It may not be an
exaggeration to say that a good monitor system is the key to a successful concert
or event.
28
Yamaha Sound Reinforcement 2005
5 Simple Steps To Better Sound
Boosting system power
SM12V
BR12M
If the people in the back row aren’t hearing the performance with the
intended impact, you can add speakers to boost the system’s output. The
first thing to try would be adding an extra set of speakers parallelconnected with the main front speakers. In this case, it is important to add
the same type of speakers as the originals. If you use speakers with
different sensitivity, only the louder speakers will be heard. Another option
is to add a subwoofer to beef up the low end. By reinforcing the lows you
effectively boost overall output. This is a good strategy for improving the
sound in outdoor setups. If you’re using Yamaha Club Series speakers, you
can easily add a subwoofer adding an electronic crossover, or use the
filters provided in the P-Series amplifiers.
Yamaha Sound Reinforcement 2005
29
Product Line Up—SR Speakers
Product Line Up—Portable PA system
All In One
MSR100
POWERED SPEAKER
STAGEPAS 300 NEW
PORTABLE PA SYSTEM
W
ith the MSR100’s built-in three-channel line mixer and power amplifier, you
can actually use it as an all-in-one PA system. The built-in mixer has
independent gain controls on each of the three channels, as well as master level
and master low and high EQ controls, a link out jack so you can connect to another
MSR100, and a clip indicator. But the MSR100 also makes a great 100-watt
powered speaker for use with a small mixer. MSR100’s can be pole-mounted, wallMSR100
mounted, suspended, or stacked – anywhere you need them. You can even lay
them on their side for monitor service. The MSR100 is a serious contender in the sound category, too, with a top-performance 100-watt
amplifier perfectly matched to a two-way speaker system consisting of a custom 8" woofer and 1" titanium diaphragm compression driver
feeding a 90° x 40° horn. A durable molded enclosure with integral handle makes this one of the most portable, convenient speaker systems
available.
MS101II/MS202II
n the road it handles as easily as a pair of speakers, but at the venue, the STAGEPAS 300 is a versatile, high-performance system with
separate powered mixer and speakers. The secret is a unique “docking system” in which the mixer and other accessories are housed
in compartments in the two-way bass-reflex speakers. But this hide-away mixer is no lightweight when it comes to performance or power. It
offers 8 input channels – four microphone and two stereo line – as well as great-sounding digital reverb. And power output is a solid 150
watts per channel. The mixer fits neatly in one speaker and can be used while docked or removed for greater positioning freedom. The other
speaker houses the supplied five-meter speaker cables, as well as microphones and a few other items you might need. If you’re a solo
performer you might want to mount the mixer on a microphone stand for easy access using the optional BMS-10A Mic Stand Adaptor. So if
you want the best of both worlds – separate component versatility with the portability and convenience of all-in-one powered speakers – the
STAGEPAS 300 Portable PA System just might be the answer you’ve been looking for.
O
The “Docking” PA System
for Ultimate Portability
STAGEPAS 300
Accessory Compartment
The STAGEPAS 300 features a convenient
storage compartment in the speaker box
for packing the included power cable,
speaker cable, owner’s manual and
microphone. Remove the rear panel of
the speaker and put in the things you
need.
BMS-10A
POWERED MONITOR SPEAKER SYSTEM
The optional BMS-10A Mic Stand
Adaptor makes it easy to mount the
mixer on a microphone stand.
Built-in Powered Mixer
N
othing beats these small powered monitors for performance and utility. The
20-watt MS202II or 10-watt MS101II is an equally fine choice for your
desktop studio or point-of-sale sound in a retail outlet. In the former application,
the superior sound of these remarkably accurate monitors can help you make better
MS101II
MS202II
mixes, while in the latter you can broadcast line-fed program material, or plug a
microphone directly into the front-panel mic jack when you want to grab your customers’ attention. Both models can be wall- or ceilingmounted, or conveniently mounted on a microphone stand.
Ideal For Monitoring or Point-Of-Sale Sound
Built-in mixer provides easy operation
and convenient portability. Can be used
inside the cabinet or outside.
S p e c if ic a ti on s
STAGEPAS 300
S
Maximum Output Power
Frequency Response
p ecificatio n s
Total Harmonic Distortion
MSR100
Type
Frequency Range
Maximum Output Level (SPL)
LF Driver
HF Driver
Maximum Output Power
Input sensitivity
Controls
Connectors
Power Requirement
Power Consumption
Finish
Dimensions (W x H x D mm)
Net Weight
Amplified 2 way bass reflex powered speaker
55Hz - 20kHz (-10dB)
112dB (1m)
8" Cone
1" Compression Driver
100W at 1kHz. THD=1%, RL=6Ω
INPUT 1: -50dB*/+4dB* (with select SW)
INPUT 2 & 3: -10dB*
Level Control, EQ (High, Low), Power switch
INPUT 1: XLR-3-31 (balanced),
INPUT 2&3: Phone (unbalanced),
LINK OUT: Phone (unbalanced)
120V 60Hz,230V 50Hz, AC240V 50Hz
70W
Polypropylene
275 x 455.5 x 255
11 kg
MS101II
MS202II
Type
Frequency Range
Maximum Output Level (SPL)
Compornent
Maximum Output Power
Input sensitivity
Controls
Bass reflex.
75Hz to 18kHz
97dB (1m, 10W)
10-cm (4") full-range cone speaker x 1
10W
Mic: -45dB, Line1, 2:-10dB
VOLUME, Tone (High, Low), Power switch
Connectors
Line Inputs RCA pin-jack x 1 (rear panel),
Phone jack x 1 (front panel),
Microphone Input Phone jack x 1 (front panel),
Line Output Phone jack x 1 (front panel)
120V 60Hz, 230/240V 50/60Hz
30W
147 x 214 x 192
2.2 kg
Bass reflex.
70Hz to 18kHz
103dB (1m, 20W)
10-cm (4") full-range cone speaker x 2
20W
Mic: -50dB, Line1, 2:-10dB
Power switch, microphone level, master level,
high and low EQ
Line Inputs RCA pin-jack x 1 (rear panel),
Phone jack x 2 (front panel),
Microphone Input Phone jack x 1 (front panel),
Line Output Phone jack x 1 (front panel)
120V 60Hz, 230/240V 50/60Hz/45W
45W
292 x 214 x 192
3.9 kg
Power Requirement
Power Consumption
Dimensions (W x H x D mm)
Net Weight
Hum & Noise
(20Hz-20kHz,Rs=150 Ω, MIC/LINE switch=MIC)
Crosstalk (1kHz)
Weight
Power Consumption
Stereo Input Channel Equalization
Enclosure
Speaker Unit
Cross Over Frequency
Frequency Range
Maximum Output Level
150W + 150W/6Ω @10% THD at 1kHz (SPEAKER L /R)
-3dB, 0dB, +1dB @20Hz–20kHz, 1W Output/6Ω (Without MUSIC/SPEECH, EQ and SP EQ Circuit)(SPEAKER L /R)
-3dB, 0dB, +1dB @20Hz–20kHz, +4dBu 10kΩ load
[MUSIC/SPEECH] switch=MUSIC (MONITOR OUT, REC OUT)
1% @1kHz, 50W Output Power (SPEAKER L /R)
0.5% @20Hz–20kHz, +14dBu 10kΩ (MONITOR OUT, REC OUT)
-65dBu Residual output noise (SPEAKER L /R)
-90dBu Residual output noise (MONITOR OUT, REC OUT)
-67dBu @MONITOR OUT control & one CH LEVEL control at nominal level (CH1– 4)(MONITOR OUT)
-70dB between input channels
18kg (mixer and two speakers)
70W
Shelving turnover/rolloff frequency: 3dB before maximum cut or boost.
±15dB
HIGH
10kHz shelving
LOW
100Hz shelving
Bass-reflex type
LF: 8"(20cm) Cone
HF: 1"(2.54cm) Compression Driver
4kHz
55Hz–20kHz
112dB (1m)
• 0dB=0.775V
Specification and appearance subject to change without noice.
All trademarks and registered trademarks are the property of their respective owners.
30
Yamaha Sound Reinforcement 2005
Yamaha Sound Reinforcement 2005
31
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