Yamaha PM4000 Owner's Manual (image) - Page 20
and right sides of the channel. - switches
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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 highmid 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 engaged). 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 Frequency 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 Frequency 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 Frequency 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 engaged). 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 Frequency 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