Yamaha PM4000 Manuale utente

PROFESSIONAL AUDIO MIXING CONSOLE

PM4000

OPERATING MANUAL

YAMAHA

PM4000

OPERATING MANUAL

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

WARNING : THIS APPARATUS MUST BE EARTHED

IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:

GREEN-AND-YELLOW

:

EARTH

BLUE

:

NEUTRAL

BROWN

:

LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the

coloured markings identifying the terminals in your plug proceed as follows:

The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the

plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or

GREEN-AND-YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the

letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the

letter L or coloured RED.

* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.

Professional audio mixing console Typ : PM4000

82/499/EWG

YAMAHA Europa GmbH

This product complies with the radio frequency

interference requirements of the Council Direc-

tive 82/499/EEC and/or 87/308/EEC.

YAMAHA CORPORATION

MICROPHONE CABLES AND MICRO-

PHONES CONNECTION

TO PREVENT HAZARD OR DAMAGE,

ENSURE THAT ONLY MICROPHONE

CABLES AND MICROPHONES DESIGNED

TO THE IEC268-15A STANDARD ARE

CONNECTED.

How to Use This Manual

If you are an engineer or technician who is familiar

with sound system design, much of this manual will

serve as a review for you. The basic features are

presented in the “BRIEF OPERATING INSTRUC-

TIONS” section. Check this and the “SPECIFICA-

TIONS” section, and you will see most of what you

need to know. The balance of this manual provides

background information for better utilization of the

console and auxiliary equipment.

If you would like to know more about AC power

distribution and safety, grounding, balanced versus

unbalanced cables, direct boxes, and so forth, this

information is also presented. Check the TABLE OF

CONTENTS.

There are internal preset switches within the

console which can be configured to change the func-

tions and/or signal paths in certain circuits. Refer to

the OPTIONAL FUNCTIONS section for details.

Terminology and

Typographic Conventions

Generally, where we refer to a particular control or

function as it is actually labeled on the console, we

will use all upper case type. That is, if we refer to an

input channel’s gain control, we may print “the input

GAIN control.” On the other hand, if the feature is not

labeled, we will use upper case type only on the first

letter; for example, “observe there is no identification

of the input Fader.” If the front panel label is incom-

plete or ambiguous, we may augment it. For example,

the input channel pushbutton switches labeled “1, 2,

3, 4, 5, 6, 7, 8” may be accompanied by the parenthetic

reference “(group bus assign)“.

Warning: To prevent fire or shock

hazard, do not expose this appliance

to rain or moisture.

There are eight groups (or subgroups, depending

on your linguistic preference). The group faders are

known as “Group Master Faders”. Their function is to

control the level on the eight “Group Mixing Busses.

The eight group busses are different and distinct from

the eight “Auxiliary Mixing Busses. The Stereo Fader

is actually a pair of closely spaced faders (L and R);

when we refer to the general function, we use the

term “Stereo Fader,” but if the availability of separate

left and right control is important, we may use the

plural “Stereo Faders.”

Particularly important information is distin-

guished in this manual by the following notations:

NOTE: A NOTE provides key information to

make procedures or functions clearer or easier.

CAUTION: A CAUTION indicates

special procedures or guidelines

that must be observed to avoid dam-

age to the console or related equip-

ment, or to avoid an undesirable

result while using the console.

WARNING: A WARNING indicates

special procedures or guidelines

that must be observed to avoid in-

jury to the operator or others using

or exposed to the console or related

equipment.

In the BRIEF OPERATING INSTRUCTIONS

section of this manual, each feature is provided with a

numerical reference. Elsewhere, if we are referring to

that feature, we may cite the reference number in

square brackets for clarity. For example, on the input

module, the fourth control to be described is the PAN

pot. In other places on the console there are other

PAN pots. For clarity, then, if we are discussing this

particular input PAN pot, we will describe it like this:

"the PAN pot [2]". Now, here’s a real warning that

Underwriters Laboratories says we have to print:

Page A-1

Table of Contents

Page Sect. Title

Section 1. Introduction

Section 2. Brief Operating Instructions

2-1

2.1

PM4000 Front Panel Features

2-1

2.1.1 The Standard Monaural Input Module

2-7

2.1.2 The Stereo Input Module

2-12

2.1.3 The Master Module (1 - 8)

2-17

2.1.4 The Stereo Master Module

2-19

2.1.5 The TB (Talkback) Module

2-22

2.1.6 The Monitor Module

2-25

2.1.7 The Meter Bridge

2-27

2.2

PM4000 Rear Panel Features

2-34 2.4

The PW4000 Power Supply

Section 3. Specifications

3-1

PM4000 Mixing Console General Specifications

3-2

PW4000 Power Supply Specifications

3-3

PM4000 Input Characteristics

3-3

PM4000 Output Characteristics

3-4

Dimensional Drawings

3-7

Block Diagrams

Section 4. Installation Notes

4-1

4.1

Planning An Installation

4-1

4.2

Power Mains

4-1

4.2.1 Verify The Correct Mains Voltage

4-1

4.2.2 Ensure There is a Good Earth Ground

4-2

4.2.3 How To Obtain a Safety Ground When

Using a 2-wire Outlet

4-3

4.2.4 Improperly Wired AC Outlets: Lifted

Grounds

4-3

4.2.5 Improperly Wired AC Outlets: Lifted

Neutral

4-4

4.2.6 AC Safety Tips

4-4

4.2.7 Power Source Integrity

4-4

4.2.8 Turn-On Sequencing

4-5

4.3 Theory of Grounding

4-5

4.3.1 Why Is Proper Grounding Important?

4-6

4.3.2 Ground Loops

4-7

4.3.3 Basic Grounding Techniques

4-8

4.3.4 Balanced Lines and Ground Lift Switches

4-9

4.4

Audio Connectors and Cables

4-10

4.4.1 Types of Cable To Use

4-10

4.4.2 Cable Layout

4-10

4.4.3 Balanced versus Unbalanced Wiring

4-13

4.4.4 The Pro’s And Con’s of Input Transformers

4-14

4.4.5 Noise And Losses In Low and High

Impedance Lines

4-15 4.5 Direct Boxes

Page Sect. Title

4-15

4.5.1 Passive Guitar Direct Box

4-17

4.5.2 Active Guitar Direct Box

4-17 4.6 Configuring Equipment Racks

Section 5. Gain Structure and Levels

5-1

5.1 Standard Operating Levels

5-2

5.2 Dynamic Range and Headroom

5-2

5.2.1 What Is Dynamic Range?

5-2

5.2.2 The Relationship Between Sound Levels and

Signal Levels

5-2

5.2.3 A Discussion Of Headroom

5-2

5.2.4 What Happens When The Program Source

Has Wider Dynamics Than The Sound

Equipment?

5-4

5.2.5 A General Approach To Setting Levels In a

Sound System

5-4

5.2.6 How To Select a Headroom Value and

Adjust Levels Accordingly

5-6

5.3 Gain Overlap And Headroom

Section 6. Optional Functions

6-2

6.1 Removing and Installing A Module

6-3

6.2 Mono Input Direct Out Jack:

Pre-Fader or Post-Fader (switch)

Pre-ON or Post-ON Switch (jumper)

6-4

6.3 Mono Input Aux Sends: Pre Fader & EQ or

Pre Fader/post EQ

6-5 6.4

Mono Input Cue/Solo Switch: Pre-Fader or

Follow MT PRE Switch

6-6

6.5

Stereo Input Cue/Solo Switch: Pre-Fader or

Follow MT PRE Switch

6-7

6.6

Mono & Stereo Input Channel MT PRE

Switch: Pre- or Post-ON Switch

6-8

6.7

Stereo Input Channel Insert In/Out Jacks:

Pre-EQ or Post-EQ

6-9

6.8 Stereo Input Channel Aux Sends:

Pre Fader & EQ or Pre Fader/Post EQ

6-10 6.9

Stereo Input Channel Aux Sends 1-8:

L+R Blend or Stereo Pairs

6-11 Stereo Input Channel Stereo

6.10

Aux Sends 1 & 2: L+R Blend or Stereo Pairs

6-12 6.11 Stereo Input Channel Feed to Monitor

Module ST IN 3 or ST IN 4

6-13 6.12 Phase Switch Function: Change Polarity of

Both L and R inputs, or of L Only

6-14 6.13 Stereo Input Module: Output Enable

Jumpers to Group, Stereo and Aux Busses

6-15 6.14 Master Module: Group-to-Matrix Assigned

Pre or Post Group Master Fader

Page TC-1

Page Sect. Title

6-16

6.15 Stereo Master to Matrix ST Bus: Pre or Post

ST Master Fader

6-17

6.16 Installation of Optional Input Transformers

6-18

6.15 Hints on Circuitry For Remote Control of

the VCA Masters and Mute Groups

Section 7. Operating Notes and Hints

7-1 7.1 Console Gain Structure

7-l 7.1.1 What Is The Proper Gain Structure?

7-1

7.1.2 What Affects Gain Structure?

7-1

7.1.3 Establishing The Correct Input Channel

Settings

7-2

7.1.4 Establishing The Correct Group Master

Settings

7-2

7.1.5 Establishing The Correct Aux Send Master

Settings

7-2

7.1.6 Establishing The Correct Mix Matrix

Settings

7-3

7.1.7 Establishing The Correct Aux Return

Settings

7-3

7.1.8 How VCA Control Affects Gain Structure

7-4

7.1.9 Channel Muting and Gain Structure

7-4

7.2 Further Hints & Conceptual Notes

7-4

7.2.1 What Is a VCA, and Why Is It Used?

7-4

7.2.2 The Distinction Between The Group Busses

and The VCA Master “Groups”

7-7

7.2.3 Using The Channel Insert In Jack as a

Line Input

7-7

7.2.4 Understanding and Using The Mix Matrix

7-9

7.2.4.1

The Mix Matrix In General Sound

Reinforcement

7-9 7.2.4.2

Using The Matrix Sub Inputs

For Effects

7-9

7.2.4.3

Other Uses For The Matrix

Sub Inputs

7-10 7.2.4.4 Use of the Matrix to

Pre-Mix Scenes

7-10

7.2.5 Understanding and Use of The Master Mute

Function

7-12

7.2.6 Stereo Panning To the Eight Group Mixing

Busses

Page Sect. Title

Section 8. Applications

8-1

8-2

8-3

8-4

8-6

8-7

8.l General

8.1.1 Theatre

8.1.2 Production

8.1.3 Post Production

8.1.4 Video

8.1.5 Sound Reinforcement

8.2 Setup Concepts

8.2.1 Deriving A Stereo Mix From Groups 1 - 8

8.2.2 The Mix Matrix Allows the 8 Groups Plus

the Stereo Bus to Function as 10 Subgroups

8.2.3 How To Get 5 Independent Stereo Mixes or

10 Mono Mixes by Using the Stereo Bus

Plus the Mix Matrix

8.2.4 How to Use the VCA Masters Plus the

Group Master Faders to Obtain the

Functional Equivalent of 16 Subgroups

8.2.5 Using More Than One VCA Master to

Control the Same Input Channels In Order

To Handle Overlapping Scenes

Section 9. Maintenance

9-l

9-1

9-2

9-3

9.1

Cleaning The Console

9.1.1 The Console and Power Supply Exterior

9.1.2 Power Supply Air Filters

9.1.3 Pots And Faders

9.1.4 The Console Interior

9.2

Meter Lamp Replacement

9.3

Where To Check If There Is No Output

9.4

What To Do In Case of Trouble

Page TC-2

Section 1

Introduction

Section 1.

Introduction

The PM4000 is a professional audio mixing console

with the kind of flexibility, performance and reliability

for which Yamaha has earned a worldwide reputation.

It picks up where the famous PM3000 left off, with still

more functions, a higher level of performance, and a

greater degree of versatility than ever before. The

console now comes with both mono and stereo input

modules, and you can determine the complement of

each type of module in your unit at the time you order

it, or you can later swap modules in the field (between

shows if need be).

The console is available with 24, 32, 40 or 48 input

positions (24 channel versions are available in the

U.S.A. only on special order). However, if fully config-

ured with stereo input modules, the actual number of

input

sources

is

substantially higher (the mix of mono

and stereo modules can add up to no more than 64 in-

put channels per mainframe, as limited by power

supply capacity). There are eight VCA (Voltage Con-

trolled Amplifier) Master Faders which can be assigned

to control any combination of input channels (see

Section 7 for a discussion of VCAs). In addition, there

are eight group mixing busses, as well as a stereo

mixing bus, to which any of the input channels can be-

assigned. There are also eight monaural auxiliary

mixing busses and two pair of stereo auxiliary mixing

busses to which each input channel may be assigned by

means of sealed PRE/OFF/POST switches and Send

Level controls. The stereo aux busses may be switched

to dual mono busses, for a total of twelve busses that

can be used to augment the eight groups plus the stereo

bus for a total of 22 audio mixing busses, or they may be

used for a combination of foldback send (stage monitor),

effects send and remote mixes.

Input channel signals may be assigned directly to the

stereo bus, or assignment can be made via the Group

Masters. Thus, the console can function in a sub-

grouped mode with a stereo "grand master" fader, or it

can function with independent stereo and multi-channel

output mixes.

The PM4000 inputs are differentially balanced, and

are equipped with a 30 dB attenuation PAD plus a

continuously variable 50 dB range GAIN trim control so

that literally any mic or line level signal can be accom-

modated with channel faders set at nominal level.

Optional input transformers may be installed internally

on a channel-by-channel basis when extra grounding

isolation is required. While the console has ample

headroom throughout, it is always possible to incor-

rectly set controls. For this reason, the PM4000 is

equipped with level detection at several stages. Input

LED meters and "PEAK" LEDs are provided. The latter

not only monitor the input preamp level, they check for

overboost in the EQ section. too. Metering can be front-

panel switched to pre or post fader (actually, pre/post

VCA). Finally, if the mixed levels on the group, auxil-

iary, stereo, matrix or cue busses adds up to be too high,

a “PEAK” LED in the output meters will flash on to

warn of the impending danger of clipping.

Naturally, the PM4000 is equipped with a Mix

Matrix, the feature Yamaha pioneered in professional

audio consoles. The PM4000 Mix Matrix is an 11x8

configuration. That is, there are 11 possible sources that

can be mixed together into one output. Those 11 sources

can be mixed together eight different ways on eight

different modules. Each matrix channel accepts a direct

sub input from a rear panel connector, plus signals from

the stereo bus (L&R) and the eight subgroups (pre or

post master fader, depending on internal preset

switches). These 11 sources all go through a MATRIX

MASTER control and an on/off switch to a discrete rear

panel output. The matrix can save a tremendous

amount of time and effort when you want to set up

stage monitor mixes from the subgroups, when you

want to create different speaker mixes for different

zones of the house, to feed local and remote programs

simultaneously, to make mono and stereo mixes from

the same subgroups, and so on. In fact, if the matrix is

set to pick up the subgroups ahead of the Group Master

Faders, then the subgroups can be mixed onto the

stereo bus with one mix, and completely independent

mono or stereo mixes can be achieved from the same

subgroups via the matrix.

The PM4000 has a VCA grouping system which is

separate from the audio grouping. Eight "VCA GROUP"

switches next to each channel fader enable that channel

to be assigned so it is controlled by one or more of the

VCA Master Faders. When multiple input channels are

assigned to a given VCA bus, those channels output

levels can be raised or lowered by the single VCA

Master Fader. Consider how this differs from the

conventional groups. When multiple input channels are

assigned to one of the eight group (audio) mixing

busses, those channels’ combined signals can be raised

or lowered in level with the Group Master Fader. The

audio result is the same as though the VCA Masters

were used... with one exception; if signal processing of

multiple inputs is required, it is necessary to run that

Page 1-1

combined signal through a single bus, which is why full-length

Group Master Faders are provided on the PM4000. However,

when the VCA Master Faders are used, more than one VCA

Master can combine to alter the level of a single input channel.

What’s more, the VCA Master Fader, because it affects the input

channel directly, can also alter that channel’s post-Fader output

to any of the eight auxiliary mixing busses, something not

possible with the conventional Group Master Faders. Because

the VCA Master levels are voltage controlled, the PM4000 can be

automated, at least to the extent of controlling group levels. A

rear panel multi-pin connector can be used for this purpose.

These VCAs are sonically improved, and to insure reliable

operation, all bus, VCA group, and mute group assignments are

via proven latching switches; Yamaha has avoided C-MOS

switching and “glue-logic” for these vital functions.

The MASTER MUTE function facilitates scene changes and

complex cues. Each input channel has eight MUTE assign

switches. These permit the channel’s on/off function to be re-

motely controlled by the eight MASTER MUTE switches. Once a

channel is switched on locally, it can be muted (turned off) or

unmuted (turned on) if it is assigned to one or more of the mute

groups. This permits multiple channels to be silenced or acti-

vated all at once, which expedites live sound mixing, band

personnel or instrument changes, theatrical scene changes, and

so forth. If, however, it is imperative that a certain channel never

be inadvertently muted, or that muting temporarily be overrid-

den, the input channel’s MUTE SAFE switch can be engaged.

Muting can also be controlled remotely, via a rear panel connec-

tor, so automation here, too, is possible. In addition to the master

muting function, the VCA master faders have mute switches

which mute the corresponding VCA group (or at least prevent the

master from altering input levels); this provides another, differ-

ent layer of master control of levels to facilitate tracking program

changes with the mix.

In recognition of the increasing trend toward full-function

auxiliary return, the PM4000 relies upon full-capability input

modules for aux returns. That's why the console is available with

up to 48 input channels, including stereo inputs. For added

flexibility, the INSERT in jack(s) on any input module can be

used for aux return purposes, and then the channels INSERT

ON switch can pick up the aux return instead of any signal

which may remain connected to the main channel input(s). This

allows a given channel to perform different functions at different

times without patching cables.

An excellent feature of the PM4000 is its extensive cue and

solo capability. There is a CUE/SOLO switch on every input

channel and on the aux returns, and a CUE switch on every

auxiliary send, the group outputs, the matrix outputs and the

Figure 1-1. PM4000 Modules (Left-to-Right):

Monaural Input (24, 32, 40 or 48 in console), Stereo

Input (at least 4 per console), Master, Stereo Master,

Talkback, and Monitor

Page 1-2

stereo master output. Cue replaces the signal in the

headphones and the stereo cue XLR outputs with only

those sources whose CUE switches are engaged.

The CUE system has input priority so that the

operator may normally monitor the cue signal from the

stereo bus or the group busses, and can instantly check

one or more channel or aux return inputs without

having to first release the bus CUE switches. This

capability is great for troubleshooting, previewing a

channel before applying it to the mix, or “touching up”

the EQ on a channel during a performance. For use

ahead of a live show, the console may be placed in solo

mode. In this mode, only the input channel(s) whose

CUE/SOLO switch is engaged will feed the console’s

outputs, and all other input channels will be muted. If

the stereo input modules are used for returns, recessed

switches in these modules can be set so returns will not

be muted and any effects applicable to the soloed input

will be heard. Annunciator lights signal the operator

whether the console is in solo or cue mode, and whether

any CUE or CUE/SOLO switch is engaged. Two head-

phone jacks enable a pair of console operators (or an

engineer and producer) to work side-by side on complex

projects.

The PM4000 has an excellent talkback system plus

a useful test oscillator. An XLR input (with phantom

power) can be set to accept any microphone or line level

input, and is activated with the TALKBACK switch.

That signal can be slated to any of the eight group

mixing busses, the eight aux send mixing busses, the

two stereo aux busses, the stereo mixing bus, and to a

rear panel XLR TB output. The test oscillator can be set

to 100 Hz, 1 kHz or 10 kHz fixed frequencies, or can be

swept from 0.2 to 2x the set frequency, and its output

level is adjustable. Pink noise may be selected, too. The

oscillator can be slated to the same busses as the

talkback, and also has its own rear panel output connec-

tor so the signal can be routed to other equipment or

other console inputs for testing.

Extensive metering is provided with a total of 14 VU

meters on the 24 and 32 channel versions, or 18 VU

meters on the 40 and 48 channel versions (each with a

peak LED). Several of these meters can be switched to

monitor alternate busses, so the metering gives you a

comprehensive view of signal levels in your system.

PM4000 electronic performance is everything you’d

expect from the people who developed the PM3000. It is

even more advanced, with lower noise levels than ever.

Wide headroom throughout, exceptionally low distor-

tion, and quiet controls are the hallmark of this top

quality mixing console. The specifications are honest

and conservative. The performance is audibly superb.

Physically, the PM4000 is as appealing as it is

electronically. An all new chassis design with aircraft-

style bracing offers increased strength to sustain

repeated trips on the road. A gray finish and subtly

color coded controls set the backdrop for the PM4000’s

hundreds of illuminated switches and indicators.

Multiple rear-mounted cooling fans reduce internal

temperatures to prolong component life.*

The highly advanced PM4000, with its many inter-

nally switchable functions, is as close to a custom

console as you can get... while retaining all the value

and reliability of an off-the-shelf Yamaha console. While

its numerous internal and front panel functions may at

first intimidate the casual console operator, the PM4000

is actually a very straightforward console to use.

Anyone who has used the PM3000, or even a PM2000,

should immediately feel comfortable with the PM4000.

Take a while to study the panel, read the descriptions in

this manual, and you’ll find operating this console is

very natural... and satisfying because you can make it

do the job the way you need it done.

*Heat is generated by electronic components, and is the

enemy of them. In some segments of the. industry (such

as Las Vegas showrooms), it has been customary to leave

equipment switched on 24 hours. This tradition grew out

of the days when vacuum tube equipment was prevalent,

and vacuum tubes did last longer

if they remained on

rather than being switched. Solid state devices used in

modern mixing consoles are less susceptible to damage

from switching, but the heat build up sustained in

continuous 24 hour operation will shorten component

life. Therefore, it’s a good idea to turn off your equipment

when it is not in use (unless you are in a very humid

environment where the heat

of operation wards off

corrosion-causing, short-circuit-promoting moisture

condensation). While the PM4000 remains cooler than

its predecessors, thanks to cooling

fans, it remains a

prudent practice to shut it off when it is not being used.

Figure 1-2. PM4000-48 Rear Panel

Page 1-3

Section 2

Brief Operating Instruction

This locking switch assigns the channel output

directly to the stereo bus. An LED in the switch

turns on when the signal is assigned to the stereo

bus. If you want the cleanest, quietest stereo mix,

create it by assigning inputs directly to the stereo

bus with this switch rather than running signal

to group busses and then mixing the groups down

to stereo.

1. 1 2 3 4 5 6 7 8 (ASSIGN switches)

These locking switches assign the channel output

to group mixing busses 1 through 8. An LED

indicator in each switch turns on when the signal

is assigned to the bus.

2. PAN (switch & rotary control)

The locking PAN switch activates the PAN pot so

you can use it to position signal between any odd-

numbered and even-numbered group mixing

busses (provided the corresponding ASSIGN

switches are engaged). This lets you create up to

four additional stereo mixes. An LED in the

switch turns on when the PAN switch is engaged.

Center position applies 3 dB less signal to each

bus than the level obtained with full left or right

assignment so that the combined stereo signal

across a given pair of busses adds up to constant

power at all PAN pot positions.

3. ST (Stereo)

Figure 2-1a. PM4000 Standard Input

Module (upper portion of module)

Section 2.

Brief Operating Instructions

2.1 PM4000 Front Panel

Features

NOTE: Features are numbered to correspond with the

numbers on these module drawings. In the case of the

input modules, where the standard monaural module

and stereo modules are similar, we have used the same

feature number where the features are identical. Where

the features are not identical, we have used an “S” suffix.

For example, feature [4] is the 48V phantom power

switch in both the monaural and the stereo input

modules, but the PAN switch and pot [2] on the stan-

dard input module is not the same as the BAL/PAN

switch, and the concentric selector switch and pot [2S]

on the stereo input module.

2.1.1

The Standard Monaural Input Module

4. +48V

This switch turns phantom power on and off at

the channel’s XLR input connector. Power can be

turned on, however, only if the MASTER PHAN-

Page 2-1

TOM POWER switch is on. An LED in the switch

turns on when phantom power is being applied to

the channel input connector.

When both the Master and this switch are on,

+48 volts is applied to both pins 2 & 3 of the

channel input XLR connector for remote power-

ing of condenser microphones. Although phantom

power will not harm most dynamic and other

non-phantom powered microphones or line-level

devices, connection of an unbalanced source to

the channel input could partially short the

console’s phantom supply, cause undue loading,

and induce hum. Therefore, it is a good practice

to turn off the channel’s phantom power unless it

is actually in use.

NOTE: The console's microphone power supply is not

intended for A-B powered microphones. External sup-

plies may be used with these devices, in which case the

console’s phantom power should be turned OFF on the

appropriate channels. The optional input transformers,

if installed, do not affect phantom power operation.

5. GAIN

This rotary knob provides 50 dB of continuously

variable adjustment for the input preamplifier

gain. A setting of -70 (full clockwise rotation)

provides maximum gain for low-level mic inputs,

whereas a setting of -20 provides minimum gain

for low-level line inputs or “hot” mics. These

settings provide 30 dB less overall gain when 30

dB pad is engaged [6].

6. 30 dB (pad switch)

Engaging this pushbutton switch attenuates the

signal 30 dB and turns on an LED in the switch.

The PAD should be used in conjunction with the

GAIN control to obtain the precise channel

sensitivity necessary for a given source. If you’re

not sure whether an input is high line level or

mic level, begin with the pad engaged, and the

GAIN control at -20 (+10) position. Then rotate

the GAIN control clockwise. If you still don’t get

enough level, or if the signal is noisy with a lot of

gain, then turn down the GAIN, disengage the

pad and reset the GAIN control as necessary.

NOTE: By adjusting the GAIN control, you may be able

to get the same overall level with or without the pad

engaged. Listen for noise and distortion, though; if the

signal is noisy, don’t use the pad. If there is a lot of

distortion, use the pad.

Front

Bandwidth

panel

Q

(octave)

3.0

0.5

1.4

1.0

center position

1.2

0.7

2.0

0.5

2.5

7. PEAK

This red LED turns on to indicate when the

signal present after the channel preamp is too

high in level. The LED triggers 3 dB below

clipping, and should therefore flash on only

occasionally.

This indicator measures signal from the XLR or

from the INSERT IN jack, whichever is active, as

well as after the equalizer. If necessary, use the

PAD or decrease the GAIN setting to prevent the

LED from remaining on any longer than momen-

tarily; otherwise excessive distortion and insuffi-

cient fader travel will result.

8. Ø (Phase)

This switch reverses the polarity of pins 2 and 3

of the channel’s XLR input connector. In normal

position (switch button up), pin 2 is the signal

high conductor, and in reverse position (switch

engaged), pin 3 is high. An LED in the switch is

illuminated when polarity is reversed.

This eliminates the need to rewire connectors or

use adapters for out-of-phase (reversed polarity)

audio sources. Sometimes intentional polarity

reversal can be helpful in canceling leakage from

adjacent microphones, or in creating electro-

acoustic special effects by mixing together out-of-

phase signals from mics picking up the same

sound source.

EQUALIZER

The input channel equalizer is divided into four

bands, each with sweepable filter frequencies.

The high and low bands may be switched for a

peaking or shelving type curve, whereas the high-

mid and low-mid bands are of the peaking type.

All four bands have adjustable Q, providing fully

parametric type EQ. The level (gain) is adjustable

over a range of 15 dB boost and 15 dB cut in each

band.

9. HIGH (Peak/Shelf)

This locking switch selects peaking type EQ

(switch out) or shelving type EQ (switch en-

gaged). When the switch is engaged (shelving

mode), the adjacent Q control is not operational.

Q

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

Page 2-2

Channel EQ “Q” Characteristics

1 ~ 20 kHz

The outer concentric knob sweeps the EQ Fre-

quency between 1,000 and 20,000 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

10. HIGH-MID

Q

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

0.4 ~ 8 kHz

The outer concentric knob sweeps the EQ Fre-

quency between 400 Hz and 8,000 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

11. LO-MID

Q

13. EQ (In/Out switch)

This locking switch activates the channel EQ or

bypasses it completely. The EQ is active when the

switch is engaged (and the LED in it is on). Bypass

allows for A-B comparison, and absolutely mini-

mum signal degradation when EQ is not needed.

14.

HPF (H.P. filter in/out switch and control)

This locking switch activates the input channel

HIGH PASS FILTER or bypasses it. The filter is

active when the switch is engaged (and the LED in

it is on). This filter bypass function is independent

of the EQ section, which has its own bypass switch.

20 ~ 400Hz

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

80 Hz ~ 1.6kHz

The outer concentric knob sweeps the EQ Fre-

quency between 80 Hz and 1,600 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

12. LO (Peak/Shelf)

This locking switch selects peaking type EQ

(switch out) or shelving type EQ (switch en-

gaged). When the switch is engaged (shelving

mode), the adjacent Q control is not operational.

Q

This rotary control sweeps the cutoff frequency of a

high pass filter (or "low cut" filter) from 20 Hz to

400

Hz. The filter slope is 12 dB per octave.

Typical applications including cutting wind noise,

vocal "P" pops, stage rumble, and low frequency

leakage from adjacent instruments. You can use

higher frequency settings to reduce leakage into

mics that are primarily handling high-frequency

sources. It is a good practice to use the filter to

protect woofers from unnecessary over-excursion

due to the presence of unneeded low frequency or

sub-sonic components, especially if a microphone is

dropped or kicked. Bypass the filter (switch up)

only when you want very low frequencies, as with

an organ, drum, bass guitar, and so forth.

15. INSERT PRE

The insert in point is normally after the HPF and

equalizer. Engaging this switch moves the insert

point between the equalizer (pre-EQ) and the

HPF. The LED in the switch is on when the

insert point is pre EQ.

16. INSERT ON

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

30 Hz ~ 600 Hz

The outer concentric knob sweeps the EQ Fre-

quency between 30 and 600 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

This locking switch activates the channel’s

INSERT IN jack, from which it applies signal to

the rest of the channel (see item [15] also). The

INSERT OUT jack is always “live,” and this

switch does not affect it. The primary use of this

switch is to select or de-select any signal proces-

sor or independent line input source which may

be plugged into INSERT IN. When the switch is

engaged, making the Insert In jack “live,” the

LED in the stitch is on.

If there is nothing plugged into the INSERT IN

jack, this switch has no effect.

Page 2-3

NOTE: PM3000 users will notice there is no EQ CLIP

indicator. Clipping at this stage can occur even though

the input signal is not clipping, due to boost (gain)

applied with the EQ circuitry. In the PM4000, clipping

in the equalizer is detected and shown on the PEAK

indicator [7] adjacent to the GAIN control.

Figure 2-1b. PM4000 Standard Input Module

(middle portion of module)

NOTE: A signal processor (effects device) can be set up

before it is needed, its levels adjusted using the always

active INSERT OUT signal, and then the processor can

be inserted on cue in the channel’s signal path by

pressing this switch.

17. AUX 1 - 8 (Send level & Pre/Off/Post switches)

There are 8 rotary AUX send level controls with

concentric PRE/OFF/POST switches. The switch

mutes (turns off) the send, or derives signal

before (PRE) or after (POST) the channel fader

and equalizer. The inner rotary control deter-

mines how much of the selected signal source is

applied to the correspondingly numbered auxil-

Page 2-4

iary mixing bus. When the switch is in the center

(OFF) position, no signal is applied to the auxil-

iary bus.

NOTE: In some applications, it is preferable to have the

PRE position be Pre-Fader & Post-EQ rather than Pre-

Fader & Pre EQ. The PM4000 is equipped with internal

switches that make it easy to change the “Pre” of each

AUX send in this manner. This functional modification

can be performed on a channel-by-channel basis, and for

any or all AUX sends within each channel. Refer to the

OPTIONAL FUNCTIONS section of this manual for

additional information.

NOTE: All eight aux sends perform identical functions,

as shipped. Color coding helps associate the channel

send controls with the Aux Master LEVEL controls. If

you reset the “Pre” function for the sends of some busses,

or on some channels, it is a good idea to attach a note to

the console indicating how you have set it up.

CAUTION: Any input module may be used

as an auxiliary return. If a module is used

in this way, DO NOT assign the return to

the same auxiliary bus whose output is

feeding the signal processor which is

providing the return signal. This will

almost certainly cause feedback which

can damage circuits and/or loudspeakers.

This caution applies to Aux busses 1

through 8, and to the stereo aux busses.

18. AUX ST 1

These are two pair of concentric level controls

and switches. Depending on how you set the

outer switch on the right-hand control, they can

function as either an independent pair of Aux

sends, similar to the eight individual AUX sends,

or they can function as a single stereo Aux send

with level and balance controls.

The outer PRE/OFF/POST switch on the left-

hand control set determines whether the send

is off, derives signal before the fader and

equalizer, of after them (just as with the

individual aux sends). This function affects

both “sides” of the AUX ST 1 output, whether

used for stereo or dual mono sends.

The outer switch on the right-hand control set

determines whether AUX ST 1 functions as a

stereo send (switch set to the left “PAN” posi-

tion) or as a pair of mono sends (switch set to

the right “LEVEL R” position).

When the send is set for stereo mode, the inner

rotary control on the left determines the overall

LEVEL applied to the Stereo 1 L & R auxiliary

mixing buses, and the inner rotary control on

the right serves to PAN that signal between the

L & R sides of that stereo pair.

When the send is set for dual mono mode, the

inner rotary control on the left sets the LEVEL

applied to the AUX ST L bus (i.e., LEVEL-L),

and the inner rotary control on the right sets

the LEVEL applied to the AUX ST R bus (i.e.,

LEVEL-R).

19. AUX ST 2

These two pair of concentric controls and

switches function just like AUX ST 1, but affect

the #2 auxiliary stereo bus pair.

Note: By setting AUX ST 1 and AUX ST 2 to dual mono

mode, you have a total of 12 independent auxiliary

mixing busses.

20. MT PRE (switch) and level meter

The channel level meter consists of 6 LEDs that

display signal levels from

-20

dB u to +6 dBu,

plus PEAK (3 dB below clipping). The meter

normally indicates the level after the EQ and the

channel fader. Engaging the METER PRE switch

causes the meter to indicate level ahead of the

fader. An LED in the switch is illuminated when

the meter is displaying pre-fader level.

21. ON switch (Channel On)

Pressing this switch turns the input channel ON,

which means the channel output is potentially

available to the 8 group mixing busses, the stereo

bus, the 8 auxiliary mixing busses, and the two

pair of stereo aux mixing busses. Engaging the

switch does not necessarily mean the switch will

be illuminated or that the channel will turn on;

muting logic may be dictating that the channel

remain off. When the channel is OFF, the feed to

the VU meter is also off, although the signal may

still be previewed with the CUE/SOLO switch

[26].

Figure 2-1c. PM4000 Standard Input Module

(lower portion of module)

22. VCA GROUP (Assign 1 - 8)

Engaging any of these 8 locking switches enables

the corresponding VCA GROUP MASTER

FADER(s) to also control the output level of this

channel. When a VCA switch is engaged, the

LED in the switch turns on.

CAUTION: If you assign (or deassign) an

input channel to a VCA group during a

performance, the channel gain will jump

up or down unless the corresponding VCA

MASTER Fader is set precisely to the

nominal position (green LED "NOMINAL"

LED illuminated).

23. MUTE (Assign 1 - 8)

Engaging any of these 8 locking switches enables

the corresponding Group MUTE MASTER

switch(es) to “kill” (turn off’) this channel. An

exception exists when the channel MUTE SAFE

switch [24] is engaged, in which case these MUTE

switches can have no effect. When a MUTE switch

is engaged, the LED in the switch turns on.

24. S (Mute safe)

The LED in this locking switch is illuminated

when the switch is engaged. When MUTE SAFE

is on, it overrides any combination of MASTER

MUTE and channel MUTE switch settings, and

Page 2-5

prevents the channel from being muted. Engag-

ing this switch ensures the channel will always

be on so long as the channel ON switch is also

engaged.

25. FADER

This long-throw fader sets the level applied to the

8 group mixing busses, and the stereo bus. It also

affects any auxiliary feeds which are set to post-

fader position. The Fader does not pass audio, but

instead controls a VCA through which the audio

signal flows. The channel level may, therefore,

also be controlled remotely from the 8 VCA

Master Faders [47] or the VCA/MUTE CON-

TROL connector [129] if one or more of the VCA

GROUP Assign switches [22] is engaged.

26. CUE/SOLO

The function of this switch on each input channel

will depend on the setting of the console’s Master

SOLO MODE switch [48].

If the console is set to the SOLO MODE, then

pressing this switch mutes all other input chan-

nels, and only the input channel(s) whose CUE/

SOLO switch is engaged will feed the console

outputs. (This is also known as “solo in place.“)

If the console is set to the CUE MODE, the

console then has a dual-priority cue system,

designed to give the engineer maximum control

and speed when it is most important. In this

mode, pressing the channel CUE/SOLO switch

causes the channel signal to replace any master

signal in the Cue output and the Phones output.

The engineer can readily select any of 27 output

mixes (Group 1-8, Matrix 1-8, Aux Send 1-8, Aux

Stereo 1 and 2, or Stereo L & R) by pressing the

corresponding CUE switches. In most cases, once

the individual output mixes have been estab-

lished, the engineer will want to listen to the

“most important output mix” during the perfor-

mance, possibly the main house feed or the vocal

group. However, should feedback occur, or should

any other condition require attention, the

PM4000 enables the engineer to instantly check

any input channel or channels by pressing their

CUE/SOLO switch(es). The input whose CUE

switch is engaged then automatically replaces the

selected output mix in the headphone and cue

outputs. The engineer can make the necessary

adjustment, and then return to monitoring the

original output mix simply by releasing the input

CUE/SOLO switch.

Pressing the CUE/SOLO switch part-way down

causes momentary contact; pressing it further

locks it down. In either case, the LED in the

switch is illuminated when the channel is being

cue’d or soloed. Although the cue signal is not

affected by the Fader or ON/off switch, it is

affected by the Input PAD, GAIN control, Filter,

channel EQ, and anything connected between the

channel’s INSERT IN and OUT jacks (if the

INSERT switch is engaged).

NOTE: Since the console operator may normally be

listening to the stereo bus or one or more group busses by

means of engaging their cue switches, the PM4000 is set

up for input cue priority. As soon as one or more input

channel cue switches are engaged, any bus cue signal

will be replaced by the input cue signal(s). Input priority

is also given to other PM4000 inputs (Aux Return cue),

not just to the input channel cue signals.

Page 2-6

2.1.2. The Stereo Input Module

The PM4000 comes with at least four stereo input

modules, located in near the master section. More of

these stereo modules can be ordered in lieu of the

monaural input modules. Their position in the main-

frame is completely interchangeable with the standard

input modules (see Section 6 for details).

1S. 1 2 3 4 5 6 7 8 (ASSIGN switches)

These locking switches assign the channel output

to group mixing busses 1 through 8. The signal is

assigned as follows: the left input signal is routed

to the odd-numbered busses, and the right input

signal to the even-numbered busses. An LED

indicator in each switch turns on when the signal

is assigned to the bus. The relative level assigned

to any adjacent pair of odd and even busses

depends upon the use of the BAL/PAN switch and

control [2S].

NOTE: The stereo input modules in mainframe positions

#3 and #4 have stereo outputs that are permanently

assigned to the ST CH3 and ST CH4 busses. These

busses are routed only to the monitor module, and

permit direct monitoring of these stereo modules. Inter-

nal switches in these stereo modules actually perform the

assignment, and, if desired, you need not assign the

modules’s outputs as shipped from the factory. For that

matter, you can assign stereo modules in any mainframe

position to either the ST CH3 or ST CH4 bus by means

of these on-board selector switches. Moreover, if you do

assign the output to ST CH3 or ST CH4, you may decide

to cut internal jumpers and thereby defeat the module’s

output to any of the Group busses. If you do this, the

Group Assign switches [1S] will have no function,

although BAL/PAN [2S] will affect the feed to the ST

CH3 or ST CH4 bus. Refer to the Optional Functions in

Section 6 of this manual for details.

2S. BAL/PAN (pushbutton switch)

BAL/PAN (rotary control)

ST-L-R-L+R (concentric rotary

signal selector switch)

The locking BAL/PAN switch determines whether

the inner rotary control has any effect on the

signal or not. When the switch is engaged, the

control serves to either balance the stereo signal

between adjacent pairs of group mixing busses or

to pan the mono signal between these pairs of

busses.

The ST-L-R-L+R switch, which is concentric

with the balance/pan control, determines the

Figure 2-2a. PM4000 Stereo Input Module

nature of the signal being fed to the group and

(upper portion of module)

stereo output busses. In ST position, the left

Page 2-7

input is available at odd-numbered busses, and

the right input at even numbered busses (and, of

course, L&R in are available to the L&R stereo

bus). In L position, the right input is deactivated,

and the left input connector is available to all

group busses and the L&R sides of the stereo bus.

Similarly, in R position, the right input is avail-

able to the various busses. In L+R position, the

left and right inputs are combined to mono, and

this mono mix is then available to the various bus

outputs. (Actually, this switch also affects the

signal available to the cue and aux busses, too.)

The LED in the BAL/PAN switch is engaged

when the balance or pan function is active. When

the switch is up, the rotary control has no effect,

and a 3 dB pad is placed in line to all bus out-

puts. For a stereo pair, 3 dB of padding is the

equivalent to placing a pan control at mid posi-

tion, and thus assures that the total power

available from a pair of outputs is equal to the

power that would be available if all the signal

were panned to one output were. It means there

will be no sudden change in level if, with the pan

pot centered, you engage or disengage the BAL/

PAN switch.

3. ST (Stereo)

This locking switch assigns the channel output

directly to the stereo bus. An LED in the switch

turns on when the signal is assigned to the stereo

bus. The left and right inputs will be routed to

the corresponding left and right sides of the

stereo bus only if the adjacent, rotary signal

selector switch [2S] is set to the ST position.

4. +48V

This switch turns phantom power on and off at

the channel’s XLR input connectors. Power can be

turned on, however, only if the MASTER PHAN-

TOM POWER switch is on. An LED in the switch

turns on when phantom power is being applied to

the channel input connector.

When both the Master and this switch are on,

+48 volts is applied to both pins 2 & 3 of the

channel input XLR connectors for remote power-

ing of condenser microphones. Although phantom

power will not harm most dynamic and other

non-phantom powered microphones or line-level

devices, connection of an unbalanced source to

the channel input could partially short the

console’s phantom supply, cause undue loading,

and induce hum. Therefore, it is a good practice

to turn off the channel’s phantom power unless it

is actually in use.

NOTE: The console’s microphone power supply is not

intended for A-B powered microphones. External sup-

plies may be used with these devices, in which case the

console’s phantom power should be turned OFF on the

appropriate channels. The optional input transformers,

if installed, do not affect phantom power operation.

5S. GAIN

This pair of concentric rotary knobs provides

50 dB of continuously variable adjustment for the

left and right input preamplifier gain. A setting

of -70 (full clockwise rotation) provides maximum

gain for low-level mic inputs, whereas a setting of

-20 provides

minimum gain for low-level line

inputs or “hot” mics. These settings provide 30 dB

less overall gain when

30

dB pad is engaged [6].

The two controls are clutched so that you can

adjust gain simultaneously for both inputs, but

you can also reduce the gain of the left input

relative to the right if you need to compensate for

inputs which vary in level. In an “emergency”

where you run short of conventional single-

channel inputs, you can use this split gain control

to accommodate two different sources, one mic-

level (right side) and one line-level (left side). Use

care, however, to avoid crosstalk if you split an

input module in this manner.

6. 30 dB (pad switch)

Engaging this pushbutton switch attenuates the

left and right input signals 30 dB and turns on an

LED in the switch. The PAD should be used in

conjunction with the GAIN controls to obtain the

precise channel sensitivity necessary for a given

source. If you’re not sure whether an input is

high line level or mic level, begin with the pad

engaged, and the GAIN controls at -20 (+10)

position. Then rotate the GAIN controls clock-

wise. If you still don’t get enough level, or if the

signal is noisy with a lot of gain, then turn down

the GAIN, disengage the pad and reset the GAIN

controls as necessary.

NOTE: By adjusting the GAIN controls, you may be able

to get the same overall level with or without the pad

engaged. Listen for noise and distortion, though; if the

signal is noisy, don’t use the pad. If there is a lot of

distortion, use the pad.

7S. L-PEAK-R

Page 2-8

This pair red LED turn on to indicate when the

signal present after the corresponding left and

right preamps is too high in level. The LEDs

trigger 3 dB below clipping, and should therefore

flash on only occasionally.

This indicators measure signal from the XLRs or

from the INSERT IN jacks, whichever are active,

as well as after the equalizer. If necessary, use

the PAD or decrease the GAIN setting to prevent

the LEDs from remaining on any longer than

momentarily; otherwise excessive distortion and

insufficient fader travel will result.

With stereo input sources, listen to ensure the

stereo balance is correct. Then adjust both GAIN

controls together; if you adjust only one of the

concentric GAIN controls to eliminate PEAK

indications, you may eliminate clipping, but you

will also disrupt the stereo program balance.

8S. Ø (Phase)

This switch reverses the polarity of pins 2 and 3

of the channel’s two XLR input connectors. In

normal position (switch button up), pin 2 is the

signal high conductor, and in reverse position

(switch engaged), pin 3 is high. An LED in the

switch is illuminated when polarity is reversed.

This function, as supplied from the factory, may

help reduce feedback. However, if the two sources

feeding a single input channel are reversed in

polarity from one another, this function will not

help you. Therefore, each PM4000 stereo input

module has an optional function that causes the

Ø switch to instead reverse the polarity of only

the left input. The switch is available on the

channel’s circuit board (see the OPTIONAL

FUNCTIONS section of this manual for details).

EQUALIZER

The input channel equalizer is divided into four

bands, each with sweepable filter frequencies.

The high and low bands may be switched for a

peaking or shelving type curve, whereas the high-

mid and low-mid bands are of the peaking type.

All four bands have adjustable Q, providing fully

parametric type EQ. The level (gain) is adjustable

over a range of 15 dB boost and 15 dB cut in each

band. There are actually two equalizers in the

channel, and when you adjust any of these EQ

controls, you are simultaneously affecting the left

and right sides of the channel.

9. HIGH (Peak/Shelf)

This locking switch selects peaking type EQ

(switch out) or shelving type EQ (switch en-

gaged). When the switch is engaged (shelving

mode), the adjacent Q control is not operational.

Q

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

1 ~ 20 kHz

The outer concentric knob sweeps the EQ Fre-

quency between 1,000 and 20,000 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

10. HIGH-MID

Q

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

0.4 ~ 8 kHz

The outer concentric knob sweeps the EQ Fre-

quency between 400 Hz and 8,000 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

11. LO-MID

Q

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

80Hz ~ 1.6 kHz

The outer concentric knob sweeps the EQ Fre-

quency between 80 Hz and 1,600 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of the

set frequency band by plus or minus 15 dB. A

center detent is provided for unity gain.

12. LO (Peak/Shelf)

This locking switch selects peaking type EQ

(switch out) or shelving type EQ (switch en-

gaged). When the switch is engaged (shelving

mode), the adjacent Q control is not operational.

Q

This rotary control adjusts the Q (the bandwidth)

of this section of the equalizer from a very narrow

band to a very broad band, with a center detent

at a Q of 1.2.

30 Hz ~ 600 Hz

The outer concentric knob sweeps the EQ Fre-

quency between 30 and 600 Hz.

-15 ~ +15 dB

The inner concentric knob adjusts the gain of

the set frequency band by plus or minus 15 dB.

A center detent is provided for unity gain.

Page 2-9

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