Input Level; Channel Fader - Yamaha PM-1000 Manual

THE INPUT MODULE
A. PHASE SWITCH Reverse the polarity of the audio signal entering the input
module. This switch eliminates the need to rewire connectors for out-of-phase
audio sources. Sliding the switch from N (normal) to R (reverse) interchanges
the leads joining pins 2 and 3 of the XLR connector to the input transformer's
primary winding.
NOTE: PM-1000 XLR connectors are wired according to DIN Standards; pin 2
high and pin З low. Refer to the Installation Section for details. Vorma/ phase for
this console means that a positive voltage applied to pin 2 at the input causes a
positive voltage to appear at pin 2 of the XLR outputs.
B. OUTPUT ASSIGN (BUS ASSIGN) SWITCHES Apply audio from the input
module to any combination of the four program mixing buses. Latching switches
1, 2, Запа 4 either individually or in any combination assign post-equalizer and
fader audio to correspondingly numbered buses. As described below, adjusting the
Pan pot to either side of center alters the level applied to the four program
mixing buses.
C. PAN POT adjusts the relative output level available to the four program mixing
buses. Panning to the center position provides equal output at full post-fader ievel
to all four Output assign switches. In other words, the program is centered in four
buses. Panning to the left gradually removes audio from the feed to buses 2 and 4,
maintaining full output to buses 1 and 3. Conversely, panning to the right gradually
removes the output from buses 1 and 3, maintaining full output in buses 2 and 4.
The /eft and right designations are arbitrary, based on the rotation of the pan pot;
they refer to the use of the console's line outputs for driving stereo or 4-channel
recorders and/or loudspeaker systems.
D. ECHO 1 AND ECHO 2 (ECHO MIX CONTROLS) Adjust the module's output
to each of two auxiliary mixing buses. These controls apply pre-fader, post-equalizer
audio to the correspondingly numbered echo mixing buses. The audio on these
buses can be fed to external reverbs, echo devices or tape delay units. In addition, the
echo outputs are ideally suited to driving performers' cue headphone systems or stage
monitor (foldback) systems; these applications require external power amplifiers.
E. EOUALIZER Alters the frequency response of the input module in order to
create a tremendous variety of tonal characteristics. The Mid-Range control acts on
any of three presence frequencies (1kHz, 2kHz or 4kHz), as determined by the Mid-
Range Select Switch. Mid-Range provides * 15dB of continuously variable peaking
equalization. The Bass and Treble controls provide * 15dB of continuously variable
shelving equalization at 100Hz and 10kHz respectively. Centering the three equalizer
controls provides flat audio response by defeating all equalization.
F. HIGH PASS (LOW CUT) FILTER Switch-actuated 12dB/octave high pass filter.
The filter follows the equalizer, affecting the output to the cue, echo and program
mixing buses. The switch has three positions: OFF bypasses the filter entirely: 40
attenuates audio below 40Hz; 80 attenuates audio below 80Hz, the most pronounced
filter effect.
G. INPUT LEVEL (INPUT SENSITIVITY) SWITCH A precision 4-stage switch
that varies the preamplifier gain and/or attenuates the incoming signal. Input
Level affects all outputs from the module. It provides optimum results with
virtually any input, from -60dB to +4dB. When correctly adjusted, Input Level
permits the input faders and echo mix controls to be used in their best range —
with maximum headroom and minimum noise characteristics. The switch has 11
settings: -60, -50, -44, -38, -32, -26, -20, -14, -8, -2 and +4dB, each corresponding to
a nominal input level (i.e., -GOdB is not a 60dB pad, but is the most sensitive
characteristic for nominal -60dB inputs).
H. CHANNEL FADER (INPUT FADER) A straightline control which provides
continuously variable adjustment of the module's output to the program mixing
buses, completely killing the signal at the bottom of its travel. The fader has no
effect on the echo or cue outputs of the module.
1. CUE (PREVIEW/SOLO) BUTTON) Applies audio to an auxiliary cue mixing bus
when the button is depressed. The cue bus is fed with pre-fader, post-equalizer audio.
Since the cue feed is unaffected by the channel fader or the echo mix controls, the
incoming signal may be previewed prior to assigning any audio to the program mixing
or echo mixing buses. Cue is monitored via the headphone output.