Assessments - 3, GPA: 3
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Facilidade de uso
It is an excellent choice as the sole mixer in a small club, meeting room, school, church, or similar application. A smoked plexiglas security cover may be installed to prevent unauthorized tampering with control settings. The M406 also makes a to augment larger mixing consoles in more complex sound systems, including the record, broadcast, film and video production environment. The M406 is brings you the same advanced M-series features and technology found in our PM-2000, but in a compact, portable package. Rugged, internally modular PC board construction ensures ease of servicing and years of reliable operation. There are echo and program bus sub inputs and sub outputs for linking two or more mixers, and a wide range 3-band EQ. Phantom power for condenser microphones is standard, with On/Off switching. Input sensitivity is adjustable for virtually any microphone or line level source by means of a positive, repeatable input level switch on each channel. There’s plenty of internal headroom so there is no distortion even during the loudest and most complex of mixing jobs, and +24 dBm 600 ohm balanced output deliver that clean signal to any professional sound equipment. Overall, the M406 has the attractive appearance, smooth control feel and superior sound quality you’ve grown to expect from Yamaha. To take full advantage of your M406 mixer, please read this manual carefully. CONTENTS FRONT PANEL OPERATION Input Channels.......................... 2 Output Section ......................... 3 REAR PANEL FEATURES................... 5 INSTALLATION NOTES .................... 6 TYPICAL APPLICATIONS Small Club Sound Reinforcement System........ 7 Church, School or Meeting Room Sound Reinforcement System ................... 8 Location Recording or Broadcast Remote Mixing System......................... 9 Expanded Mixing System That Can Break Down into Separate, Smaller................10 GENERAL SPECIFICATIONS.................11 INPUT/OUTPUT SPECIFICATIONS.............11 BLOCK DIAGRAM ........................12 LEVEL DIAGRAM.........................13 FRONT PANEL OPERATION INPUT CHANNELS O VOLUME CONTROL The Volume control continuously varies the channel output level to the stereo (left and right) program mixing bus. The nominal setting at which the level may still be increased yet there is adequate range to "fade out" is at approximately #7 position. Given an input signal of equal level to the setting of the INPUT sensitivity switch, a nominal VOLUME setting applies an optimum level to the mixing busses. (A nominal channel VOLUME and a nominal master PGM L or PGM R setting together produce the nominal +4 dB output). 0 PAN POT This control assigns the channel VOLUME control output to the left and right sides of the stereo program mixing bus. Centering the PAN pot places the signal equally in both busses (sound is centered); at this point, each bus is fed a signal 3 dB below the maximum full-left or full-right panned level. This ensures that the combined stereo output power remains constant as the signal is panned. If desired, one or two mono mixes can be created by treating the left and right busses as independent output mixes, and assigning the channel signals accordingly with the PAN pot. 0 ECHO MIX LEVEL CONTROL This control adjusts the amount of channel signal applied to the ECHO mixing bus. The M406 is factory wired to derive the echo signal after the channel VOLUME control and EQ so that a channel fade or tone adjustment will also be reflected in the channel's contribution to the echo or reverb system (a pre-Fader echo feed would force the operator to turn down the ECHO control along with channel VOLUME, or else the echo would continue indefinitely after the channel has been faded). If an effects or echo unit is not being used, the ECHO controls can be used to create a monitor mix to feed stage monitor (foldback) speakers or headphones (with the aid of a power amplifier). ■ EQUALIZER RESPONSE Ï O LOW EQ, MID EQ, HIGH EQ (EQUALIZER) The LOW, MID and HIGH EQ controls alter the channel's frequency response with up to 15 dB of boost (clockwise rotation) or cut (counterclockwise rotation). Continuously variable shelving-type equalization is provided at 100 Hz (Low) and 10,000 Hz (High); peaking equalization is provided at 1,000 Hz (Mid). Refer to the illustration. Centering the controls to the detented "O" position ensures flat audio response. In many mixes, EQ is used to modify tonal characteristics for better separation (i.e., given two similar-sounding instruments, you might boost one with the MID control and b boost the other with the 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 c...