Yamaha M

MIXING
CONSOLES
-24/-40C/-56C
The superior quality and versatility of Yamaha professional audio consoles should be no
surprise to anyone who is familiar with sound reinforcement. The Yamaha M3000A,
however, is bound to raise a few eyebrows. It offers the same industry-leading
standards of audio quality and rugged reliability that Yamaha is famous for, plus a
number of innovative features for unprecedented versatility and applicability. And
best of all, its wide selection of input configurations—24, 40 and 56 input
models—are available at prices that are sure to make the budget-minded
professional smile.
Read on and learn how Yamaha has, once again, redefined the
leading edge of sound reinforcement.
● 56, 40 or 24 mono channel configurations, both with 4 stereo
channels.
● All mono inputs feature switchable phantom power, 26dB pad
switches, 44dB gain trim, phase switch, sweepable high-pass filter,
and fully-sweepable 4-band EQ.
● 16 mix busses with Yamaha’s GA (Group/Aux) Diversity system on
mix busses 1 through 8.
● Mix busses 1 through 16 switchable for pre- or post-fader operation
in 4-buss groups.
● Mix sends 13/14 and 15/16 configured as stereo sends with pan/
balance controls.
● 3-point signal indicators on all channels with SIGNAL, NOMINAL,
and PEAK LEDs.
● All channels assignable to 8 VCA groups with full-length VCA
master faders and mute switches.
● Balanced outputs for all 16 mix busses, the stereo buss, and the 8
matrix submixes.
● 20 x 8 submix matrix mixes signals from all 16 mix busses, the
stereo buss, and stereo matrix sub inputs.
● Insert patch points on all input channels, all mix busses, and the
stereo outputs.
● Memory for up to 128 mute scenes with 8 direct recall switches and
numeric keys for fast access to scenes.
● Scene direct recall switches can alternatively be used as 8 mute
group switches.
● MIDI-controlled scene recall or complete mute automation.
● Dual stereo outputs with independent level control.
● VCA EXTERNAL I/O connector allows linking two M3000As, or an
M3000A with another VCA-compatible Yamaha console.
● All PFL/AFL switches are combined with an LED that lights when
the switch is on. Lock type push switches are also two-tone for
quick switch position recognition.
● High-performance external power supply (two power supplies can
be parallel connected for automatic switchover in case of failure).
The Most Dynamic Buss
System Available
Most mixing consoles have a fixed buss
system: say 4 groups busses, 3 or 4
auxiliary busses, a stereo buss, and maybe
a mono buss. The numbers and variations
are endless, but you’re stuck with the
configuration you initially purchased. If
your buss requirements change, you need a
new console. And if your buss requirements change from project to project, you’ll
need a console with way more capacity
than any single job requires. The
M3000A’s GA (Group/Aux) Diversity system
gives you the flexibility to match the
console’s buss configuration to a wide
range of signal-routing requirements. 8 of
its 16 mix busses can be switched from
auxiliary send status to group type operation in 2-buss groups, so you can have 2
groups and 14 auxiliary sends, 6 groups
and 10 auxiliary sends, or any other
combination the job requires.
Features For Unmatched
Control Flexibility
In addition to the GA Diversity system,
the M3000A expands the limits of console
control versatility with several innovative
features. A scene memory with MIDIcontrol capability, for example, lets you
store and instantly recall mute settings for
all input channels and mix busses output
from the panel controls, or from an external
MIDI device. You can even use a MIDI
sequencer or a computer running MIDI
sequencing software for total mute automation. Then there’s VCA grouping: all input
channels can be individually assigned to
any of 8 VCA groups, then the corresponding VCA master fader will simultaneously
control the relative levels of all assigned
channels via VCAs built right into the
channel strips so that no signal degradation
occurs. And how about a 20 x 8 submix
matrix output that can provide as many as
eight independent mixes of the signals on
the M3000A’s 16 mix busses, the stereo
buss, and matrix sub inputs?
We have no way of knowing exactly what
you need from a mixing console, but we
have spared no effort or expense in ensuring that the M3000A offers the versatility
you need to get any job done with maximum ease and efficiency.
Clean Signals From Input
To Output
Many mixer circuits must handle lowlevel signals - the head amplifiers, for
example - and must be designed with extra
care or they can be a major source of noise
and distortion. Other critical design criteria
include inter-stage matching, internal
impedance, circuit layout, grounding,
component selection, and a veritable
plethora of other factors that affect performance and the mixer’s overall “sound”.
Here’s where Yamaha technology makes a
real difference. Whether you’re using
microphone or line input, Yamaha’s highperformance circuitry gives you an exceptionally clean, quiet signal from input to
output. But then there’s RF rejection. RF
(Radio Frequency) noise generated by
motors, video monitors, and digital equipment of almost any kind can make the
cleanest, quietest circuitry virtually worthless. The M3000A boasts outstanding RF
noise rejection, so you can use it just about
anywhere without picking up unwanted
interference that can degrade your signal.
Specs You Can Trust
Yamaha never has “tweaked” specifications. Never will. It’s amazing how mediocre specs can be made to look impressive
by simply optimizing test conditions. The
electrical specifications we publish are all
brutally honest, measured under the stated
and/or industry-standard conditions. When
in doubt, we urge you to use the most
sensitive sound measurement devices
available: your own ears. They’ll tell you
who you can trust.
Rugged & Reliable
From connectors to controls to chassis,
the GA consoles are built to last. Whether
used in an installation or taken on the road,
these attractively-finished, rugged consoles
will keep on performing with the utmost
reliability.
STEREO INPUTS
MONO INPUTS
MONO & STEREO INPUT CHANNELS
■ Inputs
The M3000A has 56, 40 or 24 mono and
4 stereo input channels with balanced
XLR-type microphone/line inputs. Phantom
power is independently switchable for all
mono inputs, providing direct compatibility
with high-performance phantom-powered
condenser microphones and DI boxes.
Stereo line sources can be directly
connected to either of 4 stereo input
channels (a total of eight inputs) via
switchable “A” or “B” inputs: the “A” inputs
are balanced XLR type connectors, and
the “B” inputs are standard RCA pin jacks
type for compatibility with the widest
possible range of line sources.
■ Channel Insertion
Insert send/return patch points are
included on all mono channels for convenient insertion of compressor/limiters (a
must for top-quality vocal sound), equalizers, or any other outboard equipment you
might need to apply to individual channels.
■ Input Controls & Level Matching
Gain trim controls with a 44dB range on
all mono inputs, and independent 40dB
gain controls for the A and B inputs on the
stereo channels, facilitate optimum level
matching with a wide range of sources.
The mono inputs additionally feature 26dB
pad switches and phase switches for easy
input phase correction.
■ Filters & Flexible 4-band
Channel EQ
All mono channels feature a switchable
high-pass filters, sweepable from 20 Hz to
400 Hz to effectively eliminate rumble and
other low-frequency noise. The mono
channels also feature a very flexible 4band equalizer which provides sweepable
frequencies for all four bands as well as
switchable bandwidth for the HI MID and
LO MID bands. The stereo channels offer
fixed-frequency 4-band equalization with
switchable HI MID and LO MID bandwidth.
EQ bypass switches are provided on all
channels so equalization can be punched
in or out as required without having to
change settings.
■ Eight Group/Aux Sends
The M1 through M8 “Mix Send” controls
feed the M3000A console’s unique GA
Diversity system. When a FIX/VAR switch
in the master section is set to the “VAR”
position, the corresponding pair of send
controls (1/2, 3/4, 5/6, or 7/8) function as
auxiliary sends: i.e. the send control
adjusts the level of the signal sent to the
corresponding mix buss, and the send
switch (M1 … M8) simply turns the
corresponding send on or off. If a FIX/VAR
switch is set to the “FIX” position, the
corresponding send controls then function
as post-fader group sends: The send
control is bypassed, and the send switch
functions as a group assign switch. For
even further flexibility the M1 through M4
control group and the M5 through M8
control group can be independently
switched for pre- or post-fader send.
■ Eight Aux Sends
The M9 through M12 controls function
as mono auxiliary sends, feeding the
corresponding mix buss. The remaining
four sends are configured as dual stereo
sends (13/14 and 15/16) with balance
controls. These controls can be switched
to receive the pre- or post-fader signal in
groups of four (i.e. the four mono sends as
one group and the two stereo sends as the
second group).
■ Stereo Assign & Pan/Balance
Controls
Stereo assign switches and pan
controls on each mono channel - stereo
assign switches and balance controls on
the stereo channels - assign the corresponding channel signal to the console’s
stereo buss.
■ 3-point Level Indicators
All mono and stereo channels feature 3point level indicators for accurate monitoring of pre-fader signal levels. SIGNAL,
NOM (nominal), and PEAK LEDs provide a
broader “view” of channel signal levels
than the usual one- or two-LED indicators.
■ Channel Faders, Pre-fader
Listen, & Channel ON Switches
Smooth, noise-free 100-mm linear
faders make it easy to set up the optimum
balance between channels, while PFL
(Pre-Fader Listen) switches allow convenient solo monitoring of the channel’s prefader signal. All channels additionally
feature channel on switches that can be
used to switch the channel signal into or
out of the mix without changing any other
settings.
■ VCA Group Assign
A feature taken directly from Yamaha’s
industry-leading PM3500 series mixing
consoles, VCA grouping allows channels
to be grouped and assigned to any of
eight VCA master faders in the master
section without actually re-routing the
channel signals, thus maintaining unsurpassed signal quality. The VCA GROUP
switches (1 … 8) next to each channel
fader assign the channel to the corresponding VCA master fader. The highperformance VCAs (Voltage Controlled
Amplifiers) are located immediately before
the channel faders, and thus function in
essentially the same way as the channel
faders themselves, adjusting the level of
the channel’s post fader signal.
MASTER CONTROLS
■ GA Diversity FIX/VARI Switches
■ Submix Matrix
The core of the GA console’s innovative GA
Diversity system, these switches determine
whether the corresponding pairs of sends on
the input channels - M1 through M8 - function
as auxiliary or group sends (see “Eight Group/
Aux Sends” for more details).
The matrix mix concept was a Yamaha
innovation which has virtually become an
industry standard in professional audio
consoles. The M3000A features a 20 x 8
matrix mix which allows the 16 mix buss
signals, the stereo A signals, and the matrix L
and R sub input signals to be mixed to eight
balanced outputs for extra stage monitor
mixes, zoned speaker mixes, or just about any
type of mix the job requires. All eight matrix
mixes include mix on/off switches and AFL
switches.
■ Mix Buss Masters
The first eight mix buss master strips - M1
through M8 - receive either the aux signal or
the group signal from the channel sends,
depending on the setting of the corresponding
GA Diversity FIX/VARI switch. Mix masters M9
through M16 receive the auxiliary signal from
the corresponding channel send controls.
While M9 through M12 have independent
controls, M13 through M16 are configured as
dual stereo masters (M13/14 and M15/16).
Each of these mix master control groups has
its own linear fader as well as a “TO STEREO”
switch and pan control (balance controls on
the stereo pairs) which assign the mix buss
signal to the console’s stereo buss. “TO
MATRIX” switches assign the corresponding
mix master signal to the console’s matrix mix
(below). The mix buss master strips AFL (AfterFader Listen) switches for convenient solo
monitoring, and ON/EDIT switches equivalent
to those on the input channels.
■ Mix Outputs, Inserts & Sub Inputs
All 16 mix busses feed balanced XLR type
outputs. They also feature insert patch points
for auxiliary signal processing, as well as sub
inputs which allow external line-level signals to
be individually added to the mix signals as
required.
■ Dual Stereo Masters
The stereo buss feeds two stereo output
pairs: stereo A and stereo B. The main linear
stereo fader feeds the balanced stereo A
outputs, with AFL listen capability and a “TO
MATRIX” routing switch. The stereo B signal
feeds a second balanced output pair via the
rotary stereo B level control.
■ VCA Group Masters
The eight VCA group masters include a 100mm linear fader which controls the assigned
channel VCAs (see “VCA Group Assign”), a
VCA mute switch which mutes the assigned
channel VCAs, and a nominal level LED.
A VCA EXTERNAL I/O connector allows two
M3000A consoles to be connected - or an
M3000A can be connected to any other VCAcompatible Yamaha console such as the
PM3500 - for linked VCA group control.
■ 128 MIDI Scene Memory/
8 Mute Groups
The M3000A console the channel, mix
master, and stereo A on/off functions are
electronically controlled by a microcomputer
and MIDI interface. Up to 128 mute “scenes”
can be stored in memory and recalled either
via the panel controls or an external MIDI
device. Eight DIRECT RECALL switches can be
used for instant recall of the most often-used
scenes, while others can be recalled via the
numeric keys. The memory contents can be
checked and edited at any time without
actually affecting the mix.
A utility function allows the DIRECT RECALL
switches to be re-assigned for “mute group”
switching, which allows mutiple mute scenes
to be engaged at the same, adding the mute
assignments for all active scenes.
In addition to recalling complete scenes,
external MIDI control can be used to individu-
ally turn the applicable channels and busses
off or on as required. A MIDI sequencer or
computer, for example, could be used for
complete mute automation. And since the
M3000A also transmits MIDI program change
messages whenever a scene is recalled, it can
be linked to MIDI-controllable signal processors so that appropriate effects are recalled
automatically. Furthermore, scene data can be
dumped to a MIDI data recorder or other
storage device for long-term storage.
■ Flexible Monitoring & Metering
Convenient monitoring is provided by
balanced monitor outputs and phones output
with independent level controls. In addition to
monitoring the stereo buss, the monitor signal
can be derived from either of the M3000A’s
two 2TR IN tape inputs. There’s also a L+R
switch which sums the left- and right-channel
signals for mono monitoring.
A total of 12 large, illuminated VU meters
with built-in peak-reading LEDs provide
accurate visual level monitoring. Eight of these
can be switched to display the levels on mix
busses 1 through 8 or 9 through 16, or the
levels at the eight matrix outputs. The remaining four display the stereo A L and R and cue L
and R levels.
■ Oscillator/Talkback Module
In addition to a panel microphone connector, level control and switch for talkback, the
M3000A includes a versatile oscillator which
provides pink noise as well as 10 kHz, 1 kHz,
and 100 Hz sine waves for precise calibration
and testing. The oscillator signal is assignable
to the mix busses in pairs or groups of four
(1/2, 3/4, 5/6. 7/8, 9 through 12, and 13
through 16) and/or the stereo buss.
■ Lamp Connectors
Connectors for up to three Yamaha LA1800
console lamps are provided on the M3000A
rear panel.
PW3000MA Power Supply
PW3000MA Specifications
A newly developed, high-performance PW3000MA power supply unit is available as an
optional accessory for the M3000A mixing console. Two PW3000MA units can be
parallel connected so that if one fails the other will automatically take over — with no
need for any extra automatic switchover equipment.
Power consumption
U.S. and Canadian model: 120V AC,60Hz / 500W 600 VA
European model:
230V AC, 50Hz/ 500W
Australian model:
240V AC, 50Hz/ 500W
Dimensions (H × D × W)
103.5 × 455 × 480 mm (4-1/16” × 17-5/16” × 18-7/8”)
Weight
15kg (33.1 Ibs)
Accessory
Connecting cable (1m) × 1
Rear Panel
M3000A-56C Front and Rear Panels
M3000A-40C Front and Rear Panels
M3000A-24 Front and Rear Panels
–60dB
–50dB
–40dB
–30dB
–20dB
–10dB
0dB
+10dB
+20dB
+30dB
0
9
8
2
1
NOMINAL
ENTER
PAD 0dB
GAIN Max (–60dB)
PAD 26dB
GAIN Max (–34dB)
PAD 0dB
GAIN Min (–16dB)
PAD 26dB
GAIN Min (+10dB)
VCA
EXTERNAL I/O
VCA MUTE
8
DIRECT
RECALL
7
2
1
MIDI
THRU
OUT
IN
INPUT B
ST CH
1-4
INPUT A
R
L
R
L
GAIN
HA
VCA
MASTER/SLAVE
NOMINAL
VCA MUTE
NOMINAL
VCA MUTE
NOMINAL
VCA MUTE
CHECK
STORE
RECALL
UTILITY
PAD
26dB
B
A
HPF
to INPUT, ST CH
Ctrl Master
MEMORY
ST CH INPUT A
GAIN Max (–30dB)
ST CH INPUT B
GAIN Max (–20dB)
ST CH INPUT A/B
GAIN Min (+10dB)
Max before clip
HA
HA
HA
HA
HPF
INSERT I/O
4 Stage EQ
4 Stage EQ
from Ctrl Master
from VCA Master
4 Stage EQ
ON/EDIT
CONTROL
ON/OFF
100Hz
1kHz
10kHz
8
7
2
1
EQ
EQ
VCA
PEAK
NOM
SIGNAL
MIC
VCA
VCA
MIC(Talkback in)(–50dB)
HA
Ch Fader
PEAK
NOM
SIGNAL
INSERT I/O (0dB)
ON/EDIT
CONTROL
CHECK ON
to Meter select
PINK
8
7
2
1
CHECK ON
to Mute Control
METER SEL
MATRIX
M9-M16
M1-M8
from Ctrl Master
from VCA Master
LO
Input
1-24/1-40
GAIN A
GAIN A
f
g
LO
g
+48V
g
HI-MID
PHANTOM
MASTER
HI
f
g
HI-MID
f
g
HI
g
f
LO-MID g
Q
g
LO-MID
Q
Q
Q
+48V
9
8
2
1
Talkback LEVEL
M12
M11
M10
BAL
BAL
M9-M12
M7-M8
M5-M6
M3-M4
1
2
3
4
5
MIX
MIX
(VARIABLE)
(FIX)
7
9 11 13 15
1 2 3 4 5 6 7 8
6
8
10 12 14 16
(ST Ch) MIX1-12(VARIABLE) (–9dB)
(Mono Ch) MIX(VARIABLE), (ST Ch) MIX13-16 (–6dB)
MIX(FIX), STEREO, PFL (0dB)
to PFL L
to PFL R
to PFL ON
M15
M16
M12
M11
M10
M9
M5
M6
M7
M8
M13
M14
M1-M2
ST
to ST R
M1
M2
M3
M4
BAL
to ST L
to PFL L
to PFL R
to PFL ON
M15/ PAN
M16
M13/ PAN
M14
M13-M16
PFL
PRE
PRE
PRE
PRE
ST
PFL
PRE
PRE
PRE
M9
M5
M6
M7
M8
to ST L
to ST R
PRE
PAN
M1
M2
M3
M4
ST
DIRECT OUT
MIX SUB IN (+4dB)
DIRECT OUT (0dB)
16
10
BA
MIX SUB IN
OFF/ON LEVEL
Internal Jumper
MIX
INSERT
I/O
MIX 2: Same as MIX 1
MIX Master Fader
AFL
ST
LR
from Ctrl Master
MIX TO STEREO (0dB)
MIX TO MATRIX (0dB)
MIX OUT (+4dB)
R
to AFL ON
to MAS PFL L
to MAS PFL R
to MAS AFL L
to MAS AFL R
ST SUB IN (+4dB)
BAL TO STEREO
L
to AFL ON
to MAS PFL L
to MAS PFL R
to MAS AFL L
to MAS AFL R
MIX OUT 14
TO MATRIX
AFL
from ST CH
MIX OUT 13
TO STEREO
TO MATRIX
to Meter
PAN
ST SUB IN
MIX 15-16: Same as MIX 13-14
ON/EDIT
CONTROL
CHECK ON
MIX 10, 11, 12: Same as MIX 9
ON/EDIT
CONTROL
CHECK ON
to Meter
to AFL ON
to MAS PFL L
to MAS PFL R
to MAS AFL L
to MAS AFL R
MIX OUT 9
TO STEREO
AFL
from INPUT
MIX OUT 1
TO MATRIX
to Meter
PAN
MIX 3-4, 5-6, 7-8: Same as MIX 1-2
ON/EDIT
CONTROL
CHECK ON
MIX INSERT I/O (0dB)
from Ctrl Master
MIX
INSERT
I/O
MIX
INSERT
I/O
from Ctrl Master
FIX
VARIABLE
from Ctrl Master
MIX
INSERT
I/O
R
LEVEL
MATRIX SUB IN (+4dB)
ON/EDIT
CONTROL
CHECK ON
ST Master Fader
ST INSERT I/O (0dB)
ST
INSERT
I/O R
ST
INSERT
I/O L
L
MATRIX
SUB IN
ON
BA
BA
AFL
STEREO TO MONITOR (0dB)
STEREO TO MATRIX (0dB)
AFL
ST OUT B
R
L
TO MATRIX
ST OUT A
R
L
ST OUT (+4dB)
to Meter
to Meter
TO MATRIX
(MIX)
(SUB)(ST)
LR LR
1
3
5
7
9 11 13 15
2
4
6
8
10 12 14 16
ON
from ST CH
from MIX
from INPUT
LEVEL
AFL
to
Meter
CUE SUB IN (+4dB)
CUE CONTROL
R
L
LEVEL
CUE SUB IN
SUB IN
R
SUB IN
L
STEREO A
R
STEREO A
L
M16
M15
M14
M13
M12
M11
M10
M9
M8
M7
M6
M5
M4
M3
M2
M1
MATRIX OUT (+4dB)
MAS MAS
AFL
AFL PFL
L R ON L R L R ON
PFL
MATRIX
OUT 1-8
1
R
L
R
2TR IN 2 (–10dBV)
2TR IN 1 (+4dB)
2
2TR IN
L
MASTER PFL
INPUT
MASTER
BA
BA
BA
BA
Ctrl Master
MIX 8
MIX 16
MATRIX 8
MIX 7
MIX 15
MATRIX 7
MIX 6
MIX 14
MATRIX 6
MIX 5
MIX 13
MATRIX 5
MIX 4
MIX 12
MATRIX 1
MIX 3
MIX 11
MATRIX 4
MIX 2
MIX 10
MATRIX 2
ON
STEREO B R
CUE R
1/2
from
STEREO B L
from
CUE L
from STEREO A R
from STEREO A L
from
from
from
from
from
from
from
from
from
MIX 1
MIX 9
MATRIX 1
PHONES
LEVEL
LEVEL, PHONES
MONITOR L+R (–3dB)
L+R
to Meter
STEREO B/CUE R
STEREO B/CUE L
STEREO A R
STEREO A L
M8/M16/MATRIX 8
M7/M15/MATRIX 7
M6/M14/MATRIX 6
M5/M13/MATRIX 5
M4/M12/MATRIX 4
M3/M11/MATRIX 3
M2/M10/MATRIX 2
M1/M9/MATRIX 1
BA
BA
BA
BA
PHONES (10mW@8 ohms)
MONITOR
OUT
–60dB
–50dB
–40dB
–30dB
–20dB
–10dB
0dB
+10dB
+20dB
+30dB
Phones
R
L
MONITOR OUT (+4dB)
ON
BLOCK DIAGRAM
Input specifications
Connection
PAD
CH INPUT
(1~24)
(1~40)
(1~56)
Gain
Trim
0
26
0
26
ST CH A INPUT
[L, R] (1~4)
ST CH B INPUT
[L, R] (1~4)
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50–600 Ω Mics
&
600 Ω Lines
−60
−16
−30
+10
−20
+10
TALKBACK IN
5 kΩ
600 Ω Lines
10 kΩ
600 Ω Lines
10 kΩ
50–600 Ω Mics
2TR IN 1 [L, R]
2TR IN 2 [L, R]
10 kΩ
600 Ω Lines
CUE SUB IN [L, R]
MATRIX SUB IN [L, R]
STEREO SUB IN [L, R] MIX
SUB IN (1~16)
10 kΩ
600 Ω Lines
10 kΩ
600 Ω Lines
CH INSERT IN (1~24, 40)
STEREO INSERT IN [L, R] MIX
INSERT IN (1~16)
Input Level
Sensitivity *6
Nominal
Connector In Mixer
Max before Clip
−86 dB (0.039 mV)
−60 dB (0.775 mV)
−40 dB (0.775 mV)
−60 dB (0.775 mV)
−34 dB (15.5 mV)
−14 dB (155 mV)
−42 dB (6.16 mV)
−16 dB (123 mV)
+4 dB (1.23 V)
−16 dB (123 mV)
+10 dB (2.45 V)
+30 dB (24.5 V)
−56 dB (1.23 mV)
−30 dB (24.5 mV)
−10 dB (245 mV)
−16 dB (123 mV)
+10 dB (2.45 V)
+30 dB (24.5 V)
−46 dB (3.88 mV)
−20 dB (77.5 mV)
0 dB (0.775 V)
−16 dB (123 mV)
+10 dB (2.45 V)
+30 dB (24.5 V)
XLR-3-31 type *1
XLR-3-31 type *1
Phone Jack *3
−66 dB (0.388 mV)
−50 dB (2.45 mV)
−20 dB (77.5 mV)
XLR-3-31 type *2
−2 dB (0.616 V)
+4 dB (1.23 V)
+24 dB (12.3 V)
XLR-3-31 type *1
−13.8 dB (158 mV)
−7.8 dB (316 mV)
+12.2 dB (3.15 V)
Phone Jack *3
+4 dB (1.23 V)
+24 dB (12.3 V)
Phone Jack (TRS) *4
0 dB (0.775 V)
+20 dB (7.75 V)
Phone Jack (TRS) *5
−2 dB (0.616 V)
−6 dB (388 mV)
−26 dB (38.8 mV)
−10 dB (245 mV)
*4 SUB IN Phone Jacks (TRS) are unbalanced (T=SIGNAL, R=GND, S=GND).
*5 INSERT Phone Jacks (TRS) are unbalanced (T=OUTPUT, R=INPUT, S=GND).
*6 Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V), or the nominal
output level when the unit is set to maximum level.
0 dB=0.775 Vrms.
*1 XLR connectors are balanced.
*2 XLR connector is unbalanced.
*3 Phone Jacks are unbalanced.
Output specifications
Connection
Actual Source
Impedance
For Use With Nominal
150 Ω
STEREO A OUT [L, R]
STEREO B OUT [L, R]
MIX OUT (1~16)
MONITOR OUT [L, R]
MATRIX OUT (1~8)
CH DIRECT OUT (1~24, 40)
CH INSERT OUT (1~24, 40)
STEREO INSERT OUT [L, R]
MIX INSERT OUT (1~16)
Connector In Mixer
Max before Clip
600 Ω Lines
+4 dB (1.23 V)
+24 dB (12.3 V)
XLR-3-32 type *1
600 Ω
10 kΩ Lines
0 dB (0.775 V)
+20 dB (7.75 V)
Phone Jack (TRS) *2
600 Ω
10 kΩ Lines
0 dB (0.775 V)
+20 dB (7.75 V)
Phone Jack (TRS) *3
8 Ω Phones
1 mW
20 mW
40 Ω Phones
3 mW
75 mW
100 Ω
PHONES OUT [L, R]
Output Level
Nominal
Stereo Phone Jack *4
*3 INSERT Phone Jacks (TRS) are unbalanced (T=OUTPUT, R=INPUT, S=GND).
• 0 dB=0.775 Vrms.
*4 Stereo Phone Jack is unbalanced.
*1 All XLR connectors are balanced.
*2 CH DIRECT OUT Phone Jacks (TRS) are unbalanced (T=SIGNAL, R=GND, S=GND).
PW3000MA Dimensions
49.4mm
(1-15/16")
88mm
(3-16/7")
103.5mm
(4-1/16")
M3000A-40C: 2043mm (80-7/16")
M3000A-56C: 2571mm (101-1/4")
86mm
(3-3/8")
308mm (12-1/8")
86mm
(3-3/8")
56.8mm
(2-1/4")
(34-3/8"
874mm
480mm (18-7/8")
M3000A-24: 1515mm (59-5/8")
292mm (11-1/2")
6")
455mm (17-5/16")
(10-7/1
)
265mm
405.6mm (15-15/16")
M3000A Dimensions
General specifications
Total Harmonic Distortion
(Master output)
Less than 0.1% (THD + N)
20 Hz–20 kHz @ +14 dB 600 Ω
Frequency Response
(Master Output)
0 + 1, -3 dB
20 Hz–20 kHz @ +4 dB 600 Ω
Hum & Noise (20 Hz–20 kHz) *1
Rs = 150 Ω
−128 dB
−97 dB
Input Gain = Max.
Input Pad = OFF
||
Input sensitivity=-60 dB
−64 dB (68 dB S/N)
−99 dB
−80 dB (84 dB S/N)
−75 dB (79 dB S/N)
−81 dB (85 dB S/N)
−90 dB (94 dB S/N)
Crosstalk
−80 dB @
−70 dB @
−50 dB @
Maximum Voltage Gain
70 dB
60 dB
80 dB
90 dB
84 dB
84 dB
80 dB
100 dB
96 dB
70 dB
47 dB
54
44
70
6
dB
dB
dB
dB
10 dB
6 dB
17.8 dB
Equivalent Input Noise.
Residual Output Noise.
(MATRIX[1-8] Output)
Residual Output Noise. (OTHERS)
MIX OUT Master Level control and one CH
fader at nominal level.
STEREO OUT Master fader at nominal level and
all CH assign SW’s off and all MIX to ST SW’s
off.
MIX OUT (VARIABLE) Master Level control at
nominal level and all CH assign SW’s off.
MIX OUT (FIX) Master Level control at nominal
level and all CH assign SW’s off.
MATRIX OUT Master level control at nominal
level and all Matrix Mix controls at minimum
level.
1 kHz
1 kHz
1 kHz
adjacent inputs.
input to output. (CH INPUT)
input to output. (ST CH INPUT)
CH INPUT to DIRECT OUT
CH INPUT to CH INSERT OUT
CH INPUT to MIX OUT (VARIABLE, Pre Fader)
CH INPUT to MIX OUT (VARIABLE, Post Fader)
CH INPUT to MIX OUT (FIX; 1–8, Post Fader)
CH INPUT to STEREO A OUT (CH to ST)
CH INPUT to STEREO B OUT (CH to ST)
CH INPUT to STEREO A OUT (VARIABLE,
MIX; Post Fader) (via MIX to ST)
CH INPUT to MATRIX OUT (VARIABLE,
MIX; Post Fader) (via MIX to MATRIX)
CH INPUT to MONITOR OUT (PFL)
ST CH A INPUT to MIX OUT (VARIABLE;1–12,
Pre Fader)
ST CH A INPUT to MIX OUT (FIX;1–8)
ST CH B INPUT to MIX OUT (FIX;1–8)
TALKBACK IN to MIX OUT
SUB IN to STEREO B OUT, MONITOR OUT,
MATRIX OUT
SUB IN to STEREO A OUT, MIX OUT
2TR IN 1 to MONITOR OUT
2TR IN 2 to MONITOR OUT
CH INPUT PAD SW
26 dB
CH INPUT GAIN control
44 dB
variable
ST CH INPUT GAIN control
40 dB
30 dB
variable (ST CH A INPUT)
variable (ST CH B INPUT)
CH INPUT High Pass Filter
12 dB/octave roll-off below 20–400 Hz at −3 dB
point.
CH INPUT Equalization
+15, −15 dB maximum
HIGH
HIGH-MID
LOW-MID
LOW
ST CH INPUT Equalization
+15, −15 dB maximum
HIGH
HIGH-MID
LOW-MID
LOW
Phantom Power +48VDC is applied to balanced inputs (via 6.8 kΩ current-limiting/
isolation resistors) for powering condenser microphones ; may be turned
ON or OFF via rear-panel phantom Master switch.
When Master is ON, individual channels may be turned ON or OFF via
+48V switches (with red LED) on each input channel.
CH LED Indicators
PEAK
NOM
SIGNAL
ST CH LED Indicators
PEAK
NOM
SIGNAL
LED (red) built into each CH INPUT turns on
when pre-Fader level reaches +18 dB.
LED (yellow) built into each CH INPUT turns on
when pre-Fader level reaches 0 dB.
LED (green) built into each CH INPUT turns on
when pre-Fader level reaches −10 dB.
LED (red) built into each ST CH INPUT turns on
when pre-Fader [L+R] level reaches +18 dB.
LED (yellow) built into each ST CH INPUT turns
on when pre-Fader [L+R] level reaches 0 dB.
LED (green) built into each ST CH INPUT turns
on when pre-Fader [L+R] level reaches −10 dB.
Oscillator/Noise
Switchable sine wave @ 100 Hz, 1 kHz or 10 kHz (1% T.H.D. @ +4 dB
output), or pink noise.
Scene Memory
Direct Scene Memory recall switches (1–8)
Switchable Scene Memory recall (1–128)
VU Meters
12 illuminated meters
(0VU= +4 dB output @ 600 Ω load)
#1 ; MIX1 / MIX9 / MATRIX1
#2 ; MIX2 / MIX10 / MATRIX2
#3 ; MIX3 / MIX11 / MATRIX3
#4 ; MIX4 / MIX12 / MATRIX4
#5 ; MIX5 / MIX13 / MATRIX5
#6 ; MIX6 / MIX14 / MATRIX6
#7 ; MIX7 / MIX15 / MATRIX7
#8 ; MIX8 / MIX16 / MATRIX8
#9 ; STEREO A L
#10; STEREO A R
#11; STEREO B L / CUE L
#12; STEREO B R / CUR R
VU Meter Peak Indicators
LED(red) built into each VU meter turns on when output signal is above
the level 3 dB lower than clipping level.
Dimension
Height
Depth
Width
Weight
1k–20 kHz (peaking, Q=0.667)
400–8 kHz (peaking, Q=1.41/2.88)
80–1.6 kHz (peaking, Q=1.41/2.88)
30–600 Hz (peaking, Q=0.667)
20 kHz (peaking, Q=0.667)
3 kHz (peaking, Q=1.41/2.88)
800 Hz (peaking, Q=1.41/2.88)
50 Hz (peaking, Q=0.667)
265 mm (10-6/7”)
874 mm (34-3/8”)
56C: 2571 mm (101-1/4”)
40C: 2043mm (80-7/16”)
24: 1515mm (59-5/8”)
56C: 128 kg (282.2 Ibs.), 40C: 108 kg (238.1 Ibs.), 24: 85 kg (187.4 Ibs.)
Accessory
Connecting cable (3m) × 1
● 0 dB is referenced to 0.775 Vrms.
*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.
YAMAHA Web Site
http://www.yamaha.co.jp/english
http://www.yamaha.co.jp/product/proaudio/homeenglish/
All specifications subject to change without notice.
This document is printed on chlorine free (ECF) paper.
For details please contact:
LPA438 0033
Printed in Japan