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S ERIES TW O
3200 WATT STEREO MIXING CONSOLE
Model Type: YS1011
OWNER’S MANUAL
MANUEL DE L’UTILISATEUR
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IMPORTANT SAFETY INSTRUCTIONS This lightning flash with arrowhead symbol, within The exclamation point within an equilatereal triangle is an equilateral triangle, is intended to alert the user to intended to alert the user to the presence of important the presence of uninsulated “dangerous voltage” operating and maintenance (servicing) instructions in within the product’s enclosure that may be of sufficient the literature accompanying the appliance. magnitude to constitute a risk of electric
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0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 H H A A L L L L S S O O H H C C E E R R O O O O M M E E H H T T Sends AMPLIFIER Inputs Lamp 123456789 10 11 12 13 14 15 16 Aux 2 ABCD Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Line Line Line Line Line Line Line Line Line Line Line Line 2-TRK 2-TRK Record Out Optimum Level For Recording Internal Mon 1 Mon 2 EFX Defeat is ‘0 db’ on Mic Mic Mic Mic Mic Mi
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Input Channel Features 1. Channel Overload Protection Mono input channels 1 to 123 45 6 6 in the PowerMAX 16 (1 Bal Bal Bal Bal Bal Bal to 12 in the PowerMAX Line Line Line Line Line Line 22) feature Channel Overload Protection - a sonically transparent lim- iting function suitable for percussive sources such as Mic Mic Mic Mic Mic Mic bass guitar (either direct, mic'ed or a direct line Channel 1 - 6 Overload Protection Defeat from the amplifier), pop- prone and feedback prone Protect P
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4. Phantom Power Switch and LED Phantom Phones Phantom Power is available for condenser microphones. It may be applied to channels with regular dynamic microphones connected with no problems. When connecting micro- phones it is safest to turn off phantom power to avoid loud pops. The Phantom Power On/Off button is located on the front of the mixer, beside the Headphone jack and the On Phantom Power LED is in the upper right area of the control panel. 48 Volt Phantom Power is available on cha
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0 0 0 0 0 0 0 0 1 2 7. HPF Button Situated at the top of the mono channel strips, this switch activates a High-Pass Filter (a bass roll-off of 18 dB per octave below 80 Hz). The stereo channels do not have this 80Hz 80Hz HPF HPF feature, as they are normally used for pre-recorded material. +20 +20 Gain dB Gain dB The HPF (High-Pass Filter) is useful for controlling unwanted low-frequency spillover 0 0 +10 +10 +10 +30 +10 +30 -6 -6 picked up by microphones located too close to the bass drum, b
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0 0 0 0 15/16 Dual monitor systems permit setting up two zones of coverage. Certain channels may be isolated through one system or at least mixed louder through it. As an example, the vocalists might want to hear themselves predominantly through their monitors. The other system might carry a more generalized mix for the rest of the band’s monitors. Remember that the channel Mon 1 and 2 send controls are affected by the channel EQ, but NOT the Gain dB 0 fader. When feedback sets in, it’s oft
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Select and Parameter controls for the desired effect in the same manner as Efx 1, then adjust the Efx 2 Send and Return masters to blend in the effect with the dry signals. Use headphones and the Mon 1 and/or Mon 2 Solo buttons to listen to the effects mix in the monitor system. The Monitor Solo works the same with the AFL (After-Fader-Listen) and the PFL (Pre-Fader-Listen). The Efx 2 send signal is available at the Efx 2 Send jack and is regulated by the Efx 2 Send master fader. You may co
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18. Solo Switch The Solo switch is pre-Mute or post-Fader and introduces no attenuation. Routing is, 1. to the AFL/PFL Solo Mode selector 2. to the VU-Meter plus the Headphone level and amplifier. The Solo feature allows you to isolate a channel or master buss through the head- phones and on the VU-Meter. Because it is pre-Mute in the PFL mode, you can still Solo a channel on Mute – a convenience for digital audio players, CD-player, and tape decks on the stereo channels, or listening in
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Sends AMPLIFIER Inputs Lamp Aux 2 A B C D Record Out Optimum Level Internal For Recording Mon 1 Mon 2 EFX Defeat is ‘0 db’ on Master VU LINE LEVEL Outputs Footsw. 2 Aux Returns Master Section 20. Record Outputs These unbalanced RCA outputs are pre-EQ, pre-Speaker Processor and post-faders (L&R), as well as post-effects. The Record output signal consists of the L&R level (including effects) from the L&R masters. The signal is pre-graphic-EQ and speaker processor. This way, you can EQ the speak
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The output/s of mono or stereo effects processors would be connected here. If an effects processor is mono, plug its output into the L/Mono Aux Return jack or use a ‘Y’ cable to the Efx 2 Return jacks. If it's stereo, use both jacks. Signals coming into the Efx 2 and/or Aux Return jacks are routed to the Efx 2 and Aux Return masters so that their mix levels to both Mon 1 and Mon 2 channels and the L/R main P.A. channel can be regulated precisely. These jacks may alternately be used to conne
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Mon 1 Master Sends Send clip Section 5 4 6 25. Mon 1 and 3 7 Solo 2 8 2 Send Masters, 5 4 6 Mon 1 9 3 7 1 Clip LEDs and Solo 0 10 Active 2 8 Switches 1 9 Mon 1 and 2 Master Sends, 0 10 5 Clip LEDs and Solo switches Mon 4 6 3 2 7 are between the summed 2 8 Mon 2 channel send signals and Send 1 9 clip its designated EQ and Send 0 10 jack. The Solos and the Clip 5 4 6 5 4 6 LEDs are post-master. Once 3 7 3 Solo 7 again, the main L/R buss is 2 8 2 8 on Solo when all the other 1 9 1 9 0 1
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29. L&R (Main) Master Send Faders and Clip LEDs The left and right main summing buss receives signals directly from the channel faders, as well as the three L&R Return Levels controls. Clip LEDs fire 6 dB lower than actual clip- ping so some activity is allowable. Signal routing goes from the master faders (to Stereo EQ)… and to the Speaker Processor. Then, to both the L&R Line Level Outputs and the normally closed switching lugs on the Amp A&B Input jacks – thereafter to amps A&B. (At the s
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32. Mon 1 and Mon 2 EQs These are 9-band mono EQ’s with +/-12 dB on the same centers as the L/R Main EQ. They are Inserted between the monitor busses and the # 3 & 4 power amps, also the Mon 1 and 2 Line Level Outputs. These EQ’s should be set flat (all sliders at center) then adjusted for minimal moni- tor feedback during a sound check. If feedback does set in during the job, you will be tempted to blame the mains because that’s what you hear from the mixing station out front. Don’t be misl
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SPEAKER Outputs Mon 2 Mon 1 Circuit B D C A Breaker A-Z1162 / 1v0 Output Section Phantom Phones 34. Headphones Level Control and Output Jack The level control regulates the output of the headphone amplifier. The headphone output jack is located on the front of the mixer beside the Phantom Power switch. The head- phone program originates from the main L/R buss unless a solo is active in which case it On originates from the Solo bus. 35. Amplifier AMP A, B, C and D Inputs Each Amplifier Input u
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Given the amount of available power, it is unlikely that you will be pushing the sys- tem hard enough to run completely out of power amp headroom. If that does happen however, built-in limiting will ensure that no clipped signals endanger your speakers. If an Amplifier Full-Power LED is on continuously for any particular amp, reduce the master for that amp. Occasional flashing simply means that the limiter is reacting to peaks and requires no action on your part. 37. Speaker Connections Spe
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ADDENDUM EQ Sweep Control Although frequency sweep controls have graced the channel-EQs of recording mixers for many years, they are only found on the more upscale P.A. mixers. As a result many P.A. users, even veterans, are unfamiliar with their function. The Sweep control determines the range of frequencies that are affected by the Mid cut/boost. It moves or sweeps the Mid control's peak or notch in response up to several thousand Hertz or down to below 100 Hz. As a result it can have q
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0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 H H A A L L L L S S O O H H C C E E R R O O O O M M E E H H T T Sends AMPLIFIER Inputs Lamp 123456789 10 11 12 13 14 15 16 Aux 2 ABCD Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Line Line Line Line Line Line Line Line Line Line Line Line 2-TRK 2-TRK Record Out Optimum Level For Recording Internal Mon 1 Mon 2 EFX Defeat is ‘0 db’ on Mic Mic Mic Mic Mic Mi
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Caractéristiques d’Entrée de Canal 1. Protection de Surcharge à l’Entrée Les canaux d’entrées Mono 1 - 6 123 45 6 du PM16 (1-12 sur le PM22), offrent une protection de sur- Bal Bal Bal Bal Bal Bal Line Line Line Line Line Line charge de canal à l’aide d’un limiteur qui agit de façon trans- parente. Cette protection convi- ent à des sources telles guitare Mic Mic Mic Mic Mic Mic basse (injection direct ou avec microphone), ou autres sources ennuyeuses qui sont enclin à Channel 1 - 6 Overlo
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4. Commutateur D’Alimentation en Duplex et DEL Phantom Phones L’alimentation en duplex est disponible pour les microphones à condensateur mais elle n’endommagera pas un microphone dynamique régulier si celui ci est branché à une prise avec alimentation activée. Le commutateur on/off pour l’alimentation en duplex est situé sur le devant, à proximité de la prise pour casque d’écoute. La DEL d’alimentation en On duplex est située sur la partie supérieur droite du panneau avant. L’alimentation e
