Stable, Wide-Range, Non-Saturating Input Circuitry
A three-position input attenuator (Pad) switch, plus a continuously variable Gain control that provides 34 dB of trim range. Together, these circuits enable the PM1800A faders to remain at nominal position, and its amplifiers to maintain stable, low noi...
Stable, Wide-Range, Non-Saturating Input Circuitry
A three-position input attenuator (Pad) switch, plus a continuously variable Gain control that provides 34 dB of trim range. Together, these circuits enable the PM1800A faders to remain at nominal position, and its amplifiers to maintain stable, low noise, low distortion performance with literally any mic or line level input signal. The Pm1800A's transformerless inputs provide the "transparent" sound that many engineers prefer, while retaining excellent stability and good common mode rejection
4-Band Sweepable Channel EQ and High Pass Filter
Each input channel includes a four-band sweep-type equalizer plus a variable frequency high pass filter. The Low-Mid and High-Mid bands of the equalizer provide peaking equalization sweepable from 160 to 1,600 Hz and 800 to 8,000 Hz respectively.
Channel Insert Jacks for Signal Processing
Each input channel has an Insert In and Insert Out jack which serve as a patch point for processors such as compressor/limiters or effects devices. When nothing is connected, signal is normalled to jump across the jacks. The Insert point operating level is OdBu.
A Total of 17 Mixing Busses (Excluding the Matrix)
There are eight group mixing busses and six auxiliary mixing busses to which any of the input channels can be assigned. In addition, there is a stereo mixing bus which can be driven from the groups, plus a cue bus (for preview of channel inputs, groups, matrix channels, or the stereo mix).
Master Muting Allows for Preset Scenes or Instant Punch-Ins
Each input channel has eight mute assign switches. These permit the channel's on/off function to be remotely 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.
Equipped with Yamaha's Renowned Mix Matrix
The PM1800A mix matrix is an 8 x 4 configuration. That is, there are 8 possible sources (derived from the group busses, and either pre or post group fader, depending on internal jumpers) that can be mixed together into one output.
Four Aux Returns: Each Accepts Mono or Stereo Sources
There is a stereo return, with a Bal/Pan control for relative or odd/even level adjustments. The return is configured so it can apply a stereo signal to any of the group mixing busses, only to group busses 7 and 8, or it can be bypassed for direct assignment to the group busses. At the same time, it can apply signal directly to aux send busses 1 through 6; this is useful for "looping" one effect out to the next .
Extensive Cue and Solo Capability
There is a cue/solo switch on every input channel, and there are two cue switches (L/ MONO and R) on each of the four aux return channels. There is also a cue switch on every master auxiliary send, the group outputs, the matrix out-puts, and the stereo master output. A master Cue/Solo mode switch sets the console for cue or solo mode (this switch is recessed to prevent accidental mode changes).
Complete Signal Level and Circuit Status Monitoring
A "CLIP" LED at the input preamp facilitates proper input sensitivity (Pad and Gain control) adjustments before the signal is ever applied to a bus. Overboost in the EQ could still cause clipping, so another "Clip" LED is included after the channel's EQ section. Additional LEDs illuminate when any Mute Group is assigned. LEDs are also used to illuminate the channel on switch, Cue/Solo switch, and so forth.
Audio & Video
|Total Harmonic Distortion||Less than 0.1%, 20 Hz-20 kHz, at +14 dBm output into 600 ohms.|
|Frequency Response||+1, -3 dB, 20 Hz- 20 kHz, at +4 dBm output into 600 ohms.|
|Hum and Noise||(20 Hz-20 kHz* Rs=150 ohms, Input Pad=0 dB, Input Sensitivity= -60 dB, except as noted). -128 dBu equivalent input noise. -93 dBu residual output noise (balanced outputs). -80 dBu at Group Out with Master fader at nominal level and all channel assign switches off. -64dBu (68 dB S/N) at Group Out with Master fader and one channel fader at nominal level, and channel assigned to the group bus. -90 dBu at Stereo Out with Stereo Master fader at nominal level and all Group to Stereo switches off. -80 dBu (84dB S/N) at Stereo Out with Stereo Master fader and 1 Group Master fader at nominal level and 1 Group to Stereo switch on. -90 dBu at MTRX Out with MTRX Master control at nominal level, all Matrix mix controls at maximum level, all Group to Mtrx switches off. -82 dBu (86 dB S/N) at MTRX Out with MTRX Master control at nominal level, all Matrix mix controls at maximum level, One Group Master fader at nominal level and the corresponding Group to Mtrx switch on. -73 dBu at AUX Out with Aux Master level control at nominal, all channel AUX mix controls at minimum level (pre/Off/Post switches Off). -64dBu (68 dB S/N) at AUX Out with Aux Master level and one channel AUX mix control at nominal level. (Pre/Off/ Post switch Pre)|
|Signal/Clip Indicators||2 LEDs built into each input module monitor levels in the module: CLIP (red) turns on when pre-EQ signal is 3 dB below clipping. EQ Clip (red) turns on when post-EQ level is 3dB below clipping.|
|Phantom Power||48 V DC is applied to electronically balanced inputs or optional transformer- isolated inputs (via 6.8 kohm current limiting/ isolation resistors) for powering condenser microphones. May be turned on or off via rear-panel phantom master switch; when on, individual channels may be turned off via +48 V switch on each input module.|
|Maximum Voltage Gain||84 dB Ch In to Group Out 94 dB Ch In to Stereo Out 84 dB Ch In to MTRX Out 94 dB Ch In to Aux Out 84 dB Ch In to Cue Out 20 dB Aux RTN to Group Out 10 dB Sub In to Group Out 10 dB Sub In to Aux Out|
|Input Channel Gain Control||34 dB variation in gain stop-to-stop.|
|Input Channel Padswitch||0, 20, 40 dB of attenuation.|
|Input Channel Equalization||15 dB maximum boost or cut in the each of four bands. High: 1.6 kHz- 16 kHz (shelving). Hi-Mid: 800 Hz- 8 kHz (peaking). Lo-Mid: 160 Hz- 1.6 kHz (peaking). LOW: 40 Hz - 400 Hz (shelving).|
|Input Channel High Pass Filter||12 dB/ octave roll off below 20 Hz - 400 Hz (adjustable -3 dB point).|
|Crosstalk||-60 dB at 1 kHz.|
|Oscillator/ Noise Generator||Switchable sine wave at 100 Hz, 1 kHz, or 10 kHz (less than 1% T.H.D. at +4 dBu output level), or pink noise.|
|VU Meters||Stereo L and R: 2 large, illuminated meters with Peak LEDs. Other meters are smaller size without Peak LEDs. All meters calibrated for 0 VU= +4 dBu=1.23 Vrms output; Peak LEDs turn on 10 dB before clipping.|
|Power Requirements||Requires Yamaha PW1800 power supply.|
|Console Dimensions||Height: 12- 1/8 inches (308 mm) Depth: 34 inches (866 mm) Width: 39-1/2 inches (1003 mm)|
|Net Weight (excluding power supply)||125- 5/8 lbs. (57 kg.)|