MIXING
CONSOLES
-24/-40C/-56C
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than any single job requires. 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 ensur-
ing that the M3000A offers the versatility
you need to get any job done with maxi-
mum ease and efficiency.
(Radio Frequency) noise generated by
motors, video monitors, and digital equip-
ment of almost any kind can make the
cleanest, quietest circuitry virtually worth-
less. 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.
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 opera-
tion 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.
Specs You Can Trust
Yamaha never has “tweaked” specifica-
tions. Never will. It’s amazing how medio-
cre 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.
Features For Unmatched
Control Flexibility
Clean Signals From Input
To Output
In addition to the GA Diversity system,
the M3000A expands the limits of console
control versatility with several innovative
features. A scene memory with MIDI-
control 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 automa-
tion. Then there’s VCA grouping: all input
channels can be individually assigned to
any of 8 VCA groups, then the correspond-
ing VCA master fader will simultaneously
control the relative levels of all assigned
channels via VCAs built right into the
Many mixer circuits must handle low-
level 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 per-
formance 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 high-
performance circuitry gives you an excep-
tionally clean, quiet signal from input to
output. But then there’s RF rejection. RF
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.
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MONO & STEREO INPUT CHANNELS
as post-fader group sends: The send
● Inputs
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.
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
● Eight Aux Sends
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.
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).
● Channel Insertion
Insert send/return patch points are
included on all mono channels for conven-
ient insertion of compressor/limiters (a
must for top-quality vocal sound), equaliz-
ers, or any other outboard equipment you
might need to apply to individual chan-
nels.
● 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 corre-
sponding channel signal to the console’s
stereo buss.
● 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.
● 3-point Level Indicators
All mono and stereo channels feature 3-
point level indicators for accurate monitor-
ing 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.
● Filters & Flexible 4-band
Channel EQ
● Channel Faders, Pre-fader
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 4-
band 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.
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 conven-
ient solo monitoring of the channel’s pre-
fader 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 unsur-
passed signal quality. The VCA GROUP
switches (1 … 8) next to each channel
fader assign the channel to the corre-
sponding VCA master fader. The high-
performance 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.
● 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
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MASTER CONTROLS
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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 proces-
sors 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.
■ GA Diversity FIX/VARI Switches
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).
■ Submix Matrix
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 (After-
Fader Listen) switches for convenient solo
monitoring, and ON/ EDIT switches equivalent
to those on the input channels.
■ 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 remain-
ing four display the stereo A L and R and cue L
and R levels.
■ VCA Group Masters
The eight VCA group masters include a 100-
mm 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 VCA-
compatible 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.
■ Oscillator/Talkback Module
In addition to a panel microphone connec-
tor, 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.
■ 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.
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.
■ Lamp Connectors
Connectors for up to three Yamaha LA1800
console lamps are provided on the M3000A
rear panel.
In addition to recalling complete scenes,
external MIDI control can be used to individu-
PW3000MA Specifications
Power consumption
PW3000MA Power Supply
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.
U.S. and Canadian model: 120V AC,60Hz / 500W 600 VA
European model:
Australian model:
230V AC, 50Hz/ 500W
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
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M3000A-56C Front and Rear Panels
M3000A-40C Front and Rear Panels
M3000A-24 Front and Rear Panels
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BLOCK DIAGRAM
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Q
Q
H I - M I D
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f
H I - M I D
Q
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L O - M I D
L O - M I D
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Input specifications
Input Level
Nominal
Gain
Trim
Actual Load
Impedance
For Use With
Nominal
Connection
PAD
Connector In Mixer
Sensitivity *6
−86 dB (0.039 mV)
−60 dB (0.775 mV)
−42 dB (6.16 mV)
−16 dB (123 mV)
−56 dB (1.23 mV)
−16 dB (123 mV)
−46 dB (3.88 mV)
−16 dB (123 mV)
−66 dB (0.388 mV)
−2 dB (0.616 V)
Max before Clip
−40 dB (0.775 mV)
−14 dB (155 mV)
+4 dB (1.23 V)
0
−60 dB (0.775 mV)
−34 dB (15.5 mV)
−16 dB (123 mV)
+10 dB (2.45 V)
−30 dB (24.5 mV)
+10 dB (2.45 V)
−20 dB (77.5 mV)
+10 dB (2.45 V)
−50 dB (2.45 mV)
+4 dB (1.23 V)
CH INPUT
(1~24)
(1~40)
(1~56)
−60
−16
50–600 Ω Mics
&
600 Ω Lines
26
0
3 kΩ
5 kΩ
XLR-3-31 type *1
26
+30 dB (24.5 V)
−10 dB (245 mV)
+30 dB (24.5 V)
0 dB (0.775 V)
−30
+10
−20
+10
ST CH A INPUT
[L, R] (1~4)
600 Ω Lines
XLR-3-31 type *1
Phone Jack *3
ST CH B INPUT
[L, R] (1~4)
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
50–600 Ω Mics
600 Ω Lines
+30 dB (24.5 V)
−20 dB (77.5 mV)
+24 dB (12.3 V)
+12.2 dB (3.15 V)
TALKBACK IN
XLR-3-31 type *2
XLR-3-31 type *1
Phone Jack *3
2TR IN 1 [L, R]
2TR IN 2 [L, R]
−13.8 dB (158 mV)
−7.8 dB (316 mV)
CUE SUB IN [L, R]
−2 dB (0.616 V)
MATRIX SUB IN [L, R]
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
+4 dB (1.23 V)
0 dB (0.775 V)
Phone Jack (TRS) *4
Phone Jack (TRS) *5
+24 dB (12.3 V)
+20 dB (7.75 V)
STEREO SUB IN [L, R] MIX
SUB IN (1~16)
−6 dB (388 mV)
−26 dB (38.8 mV)
−10 dB (245 mV)
CH INSERT IN (1~24, 40)
STEREO INSERT IN [L, R] MIX
INSERT IN (1~16)
*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
Output Level
Max before Clip
Actual Source
Impedance
Connection
For Use With Nominal
Connector In Mixer
Nominal
STEREO A OUT [L, R]
STEREO B OUT [L, R]
MIX OUT (1~16)
MONITOR OUT [L, R]
MATRIX OUT (1~8)
150 Ω
600 Ω Lines
XLR-3-32 type *1
+4 dB (1.23 V)
+24 dB (12.3 V)
CH DIRECT OUT (1~24, 40)
CH INSERT OUT (1~24, 40)
600 Ω
600 Ω
10 kΩ Lines
10 kΩ Lines
0 dB (0.775 V)
0 dB (0.775 V)
Phone Jack (TRS) *2
Phone Jack (TRS) *3
+20 dB (7.75 V)
+20 dB (7.75 V)
STEREO INSERT OUT [L, R]
MIX INSERT OUT (1~16)
8 Ω Phones
1 mW
3 mW
20 mW
75 mW
PHONES OUT [L, R]
100 Ω
Stereo Phone Jack *4
40 Ω Phones
*3 INSERT Phone Jacks (TRS) are unbalanced (T=OUTPUT, R=INPUT, S=GND).
*4 Stereo Phone Jack is unbalanced.
• 0 dB=0.775 Vrms.
*1 All XLR connectors are balanced.
*2 CH DIRECT OUT Phone Jacks (TRS) are unbalanced (T=SIGNAL, R=GND, S=GND).
M3000A Dimensions
PW3000MA Dimensions
480mm (18-7/8")
M3000A-24: 1515mm (59-5/8")
M3000A-40C: 2043mm (80-7/16")
M3000A-56C: 2571mm (101-1/4")
308mm (12-1/8")
86mm
86mm
(3-3/8")
(3-3/8")
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General specifications
Total Harmonic Distortion
(Master output)
Less than 0.1% (THD + N)
ST CH INPUT Equalization
+15, −15 dB maximum
HIGH
20 Hz–20 kHz @ +14 dB 600 Ω
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)
Frequency Response
(Master Output)
0 + 1, -3 dB
20 Hz–20 kHz @ +4 dB 600 Ω
HIGH-MID
LOW-MID
LOW
Hum & Noise (20 Hz–20 kHz) *1 −128 dB
Rs = 150 Ω
Equivalent Input Noise.
−97 dB
Residual Output Noise.
(MATRIX[1-8] Output)
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.
Input Gain = Max.
Input Pad = OFF
||
−99 dB
Residual Output Noise. (OTHERS)
When Master is ON, individual channels may be turned ON or OFF via
+48V switches (with red LED) on each input channel.
Input sensitivity=-60 dB
−64 dB (68 dB S/N)
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.
CH LED Indicators
PEAK
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.
−80 dB (84 dB S/N)
NOM
−75 dB (79 dB S/N)
−81 dB (85 dB S/N)
−90 dB (94 dB S/N)
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.
SIGNAL
ST CH LED Indicators
PEAK
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.
NOM
Crosstalk
SIGNAL
−80 dB @
−70 dB @
−50 dB @
1 kHz adjacent inputs.
1 kHz input to output. (CH INPUT)
1 kHz input to output. (ST CH INPUT)
Oscillator/Noise
Switchable sine wave @ 100 Hz, 1 kHz or 10 kHz (1% T.H.D. @ +4 dB
Maximum Voltage Gain
output), or pink noise.
70 dB
60 dB
80 dB
90 dB
84 dB
84 dB
80 dB
100 dB
CH INPUT to DIRECT OUT
CH INPUT to CH INSERT OUT
Scene Memory
Direct Scene Memory recall switches (1–8)
Switchable Scene Memory recall (1–128)
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
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
96 dB
70 dB
47 dB
54 dB
44 dB
70 dB
6 dB
#10; STEREO A R
#11; STEREO B L / CUE L
#12; STEREO B R / CUR R
10 dB
6 dB
17.8 dB
SUB IN to STEREO A OUT, MIX OUT
2TR IN 1 to MONITOR OUT
2TR IN 2 to MONITOR OUT
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.
CH INPUT PAD SW
26 dB
Dimension
Height
CH INPUT GAIN control
ST CH INPUT GAIN control
44 dB variable
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”)
Depth
Width
40 dB variable (ST CH A INPUT)
30 dB variable (ST CH B INPUT)
CH INPUT High Pass Filter
12 dB/octave roll-off below 20–400 Hz at −3 dB
point.
Weight 56C: 128 kg (282.2 Ibs.), 40C: 108 kg (238.1 Ibs.), 24: 85 kg (187.4 Ibs.)
CH INPUT Equalization
+15, −15 dB maximum
HIGH
Accessory
Connecting cable (3m) × 1
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)
HIGH-MID
LOW-MID
LOW
● 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
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
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