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MIXING
-24/-32/-40C/-48C/-56C
CONSOLES
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When discerning sound-reinforcement professionals think “console” they also think “Yamaha.” And with good reason. Yamaha sound- reinforcement consoles have, for many years, been standards by which others are judged. Yamaha’s new M2500 consoles up the ante once more, defining new levels of performance, control, versatility, and reliability for an industry that never stands still. Innovate fea- tures such as the group/aux flip function and LCR panning offer unprecedented control, while no-compromi
Summary of the content on the page No. 3
Photo: M2500-56C Group/Aux Flip Function Switchable LR and LCR Panning This innovative feature makes it possible to flip the functions of All of the mono inputs and group master controls feature LCR the group master 1 through 8 controls (including pan pots, assign switches which, when engaged, assign the related panpot to the left, switches, and insert I/O jacks) with aux send controls 7 through 14 right, and center busses for LCR panning rather than just to the left via a single switch. When th
Summary of the content on the page No. 4
INPUT CHANNELS INPUT CHANNELS n Inputs n 14 Aux Sends The mono input channels feature balanced The AUX 1 through AUX14 controls are XLR-type microphone/line inputs. +48V mono auxiliary sends, feeding the correspond- Phantom power is independently switchable ing auxiliary busses. The AUX 7 through AUX for all mono inputs, providing direct compat- 14 signals can be re-routed to the group ibility with high-performance phantom- master controls, as described in the “MASTER powered condenser microphon
Summary of the content on the page No. 5
MASTER CONTROLS MASTER CONTROLS
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the stereo signals, the mono buss signal, and n Master Auxiliary Sends n Sub Inputs the L and R sub input signals to be mixed to Master auxiliary sends 1 through 6 feature Sub inputs to the stereo L and R busses, the eight balanced outputs for extra stage monitor full-length 100-millimeter faders with ON and mono/center buss, and the submix matrix mixes, zoned speaker mixes, or just about any AFL switches, and theses directly feed the allow external line-level signals to be added to type of mix
Summary of the content on the page No. 7
M2500-24Front Panel M2500-24 Rear Panel M2500-40C Front Panel M2500-40C Rear Panel
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BLOCK DIAGRAM INSERT I/O PEAK GROUP AUX INSERT I/O 0dB to METER NOM 1 3 5 7 1 3 5 7 9 11 13 PHANTOM 0dB G1/A7 +48V 2 4 6 8 2 4 6 8 10 12 14 MASTER SIGNAL GRP/AUX OUT +4dB INPUT G1/A7 LR 1-24 PAD HPF 4 stage EQ 1-32 CPU Ø EQ 1-40 80 1-48 PAN 1-56 (0dB) PINK MATRIX UTILITY 1 1 IN ST L PAN ST ST (–26dB) RECALL 2 MATRIX 1 to ST R 10kHz A7-14/G1-8 2 26dB GAIN OUT A7/G1 STORE OSC AUX 1 MONO MONO MONO 1kHz AUX1-6 G1/A7 LCR Mute LCR CHECK THRU CHECK Control to MATRIX ON MATRIX 100Hz G1-8/A7-14 MATRIX 2
Summary of the content on the page No. 9
Input specifications *1 Input Level Gain Actual Load For Use With CD onnection PA Connector In Mixer Trim Impedance Nominal *9 Sl ensitivityNp omina Max before Cli 0 - 80 dB (0.078 mV) - 60 dB (0.775 mV) - 40 dB (7.75 mV) - 60 CH INPUT 50–600 W Mics 26 - 54 dB (1.55 mV) - 34 dB (15.5 mV) - 14 dB (155 mV) *8 (1~n) 3 kW & 0 - 36 dB (12.3 mV) - 16 dB (123 mV) +4 dB (1.23 V) 600 W Lines *2 - 16 XLR-3-31 type 26 - 10 dB (245 mV) +10 dB (2.45 V) +30 dB (24.5 V) - 30 - 50 dB (2.45 mV) - 30 dB (24.5 mV
Summary of the content on the page No. 10
General specifications Total Harmonic Distortion Less than 0.1% (THD + N) Phantom Power (Master output) 20 Hz–20 kHz @ +14 dB 600 W +48VDC is applied to balanced inputs (via 6.8 kW current-limiting/isolation resistors) for powering condenser microphones ; may be turned ON or Frequency Response 0 + 1, –3 dB OFF via rear-panel phantom Master switch. (Master Output) 20 Hz–20 kHz @ +4 dB 600 W When Master is ON, individual channels may be turned ON or OFF via (Input Gain control at Minimum) +48V swi
