Yamaha M3000A
The superior quality and versatility of Yamaha professional audio consoles should be no surprise to anyone who is familiar with sound reinforcement. The M3000A offers the same industry-leading standards of audio quality and rugged reliability that Yamaha is famous for, plus a number of innovative features for unprecedented versatility and applicability, at a price that is sure to make the budget-minded professional smile.
The Most Dynamic Buss System Available
Most mixing consoles have a fixed buss system: say 4 groups busses, 3 or 4 auxiliary busses, a stereo buss, and maybe a mono buss. The number and variations are endless, but you're stuck with the configuration you initially purchased. If your buss requirements change, you need a new console. If your buss requirements change from project to project, you'll need a console with way more capacity than any single job requires.
Group/Aux Diversity System
The M3000A 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 operation in 2-buss groups, so you can have two group and 14 auxiliary sends, 6 groups and 10 auxiliary sends, or any other combination the job requires.
Features for Unmatched Control Flexibility
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, 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 automation.
VCA Grouping
All input channels can be individually assigned to any of 8 VCA groups, then the corresponding VCA master fader will simultaneously control the relative levels of all assigned channels via VCAs built right into the channel strips so that no signal degradation occurs. And how about a 20 x 8 submix matrix output than can provide as many as eight independent mixes of the signals on the M3000A 16 mix busses, the stereo buss, and matrix sub inputs?
Maximum Ease and Efficiency
Yamaha has no way of knowing exactly what you need for a mixing console, but we have spared no effort or expense in ensuring that the M3000A offers the versatility you need to get any job done with maximum ease and efficiency.
Clean Signals From Input To Output
Many mixer circuits must handle low-level signals and must be a major source of noise and distortion. Other critical design criteria include inter-stage matching, internal impedence, circuit layout, grounding, component selection, and a veritable plethora of other factors that affect performance and the mixer's overall "sound". Here's where Yamaha technology makes a real difference.
Rugged and 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.
Inputs
The M3000A has 56, 40 or 24 mono and 4 stereo input channels with balanced XLR-type microphone/line inputs. Phantom power 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 connected to either of 4 stereo input channels via switchable "A" inputs( balanced XLR type connectors) or "B" inputs (standard RCA pin jacks type for compatibility with the widest possible range of line sources).
Channel Insertion
Insert send/return patch points are included on all mono channels for convenient insertion of compressor/limiters (a must for top-quality vocal sound), equalizers, or any other outboard equipment you might need to apply to individual channels.
Input Controls and 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.
Filters and Flexible 4-Band Channel EQ
All mono channels feature switchable high-pass filters, sweepable from 20Hz to 400Hz, effectively eliminating rumble and other low-frequency noise. Mono channels also feature very flexible 4-band equalizer, providing sweepable frequencies for all 4 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 so equalization can be punched in and out.
VAR Switch - Eight Group/Aux Sends
The M1 through M8 "Mix Send" controls feed the M3000A-40 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 (1/2,3/4,5/6,7/8) function as auxiliary sends. Send control adjusts the level of the signal sent to the corresponding mix bus, and the send switch simply turns the corresponding send on or off.
GA32/12
Buss System
Most mixing consoles have a fixed buss system: e.g. say 4 groups busses, 3 or 4 auxiliary busses, a stereo buss, and maybe a mono buss. The numbers and variations are endless, but you're stuck with the configuration you initially purchased. If your buss requirements change from project to project, you'll need a new console with more capacity than any single job requires.
Group/ Aux Diversity System
The GA Diversity system provided on the GA Series Mixing Consoles gives you the flexibility to match the console's buss configuration to a wide range of signal-routing requirements. 4 of its 10 mix busses can be individually switched from pre-fader auxiliary send status to group type operation, so you can have 2 groups and 8 auxiliary sends, 4 groups and 6 auxiliary sends, or any other combination the job requires.
Clean Signals From Input to Output
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 noice 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 performance 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 exceptionally clean, quiet signal from input to output. But then there's RF rejection. RF (Radio Frequency) noice generated by motors, video monitors, and digital equipment of almost any kind can make the cleanest, quietest circuitry virtually worthless. The GA32/12 and the GA24/12 boast outstanding RF noise rejection.
Specs You Can Trust
Yamaha never has "tweaked" specifications. Never will. It's amazing how mediocre 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.
Rugged and Reliable
From connectors to controls to chassis, 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.
Inputs
The GA32/12 has 28 mono input channels with balanced XLR-type microphone inputs and balanced/unbalanced TRS phone jack line inputs. Phantom power is switchable in 4-input groups for all mono inputs, providing direct compatibility with high-performance phantom-powered condenser microphones and DI boxes.
Channel Insertion
Insert send/return patch points are included on all mono channels for convenient insertion of compressor/limiters (a must for top-quality vocal sound), equalizers or any other outboard equipment you might need to apply to individual channels.
Input Controls and Level Matching
Gain trim controls with a 44-dB range and LED peak indicators on all mono and stereo inputs facilitate optimum level matching with a wide range of sources. The mono inputs additionally feature 26-dB pad switches, phase switches for easy input phase correction and switchable high-pass filters to cut out rumble and other low-frequency noise.
4-Band Channel EQ
4-band equalization on each input channel can be used to bring out the best in the sound of individual instruments or voices, emphasize a channel in relation to others, blend the sound of several channels, create special effects, reduce noise, and much more. The hi-mid and lo-mid bands on the mono channels are sweepable for extra control precision. EQ bypass switches are provided on all channels so equalization can be punched in or out as required without having to change settings.
Four Group/Aux Sends
The M1 through M4 "Mix Send" controls feed the GA console's unique GA Diversity system. When the corresponding FIX/VAR switch in the master section is set to the "VAR" position, that send functions as a prefader auxiliary send: i.e. the send control adjusts the level of the signal sent to the corresponding buss (M1...M4), and the send ON switch simply turns the corresponding send on or off. If a FIX/VAR switch is set to the "FIX" position, the send then functions as a post-fader group send.
Six Aux Sends
The M5 through M10 controls function as auxiliary sends, feeding the corresponding mix buss. These controls can be switched to receive the pre- or post-fader signal in groups of two (5/6, 7/8 and 9/10).
Stereo Assign and Panning
Stereo assign switches and pan controls on each input channel assign the corresponding channel signal to the GA console's stereo buss.
Channel Faders, Pre-fader Listen, and 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 convenient solo monitoring of a 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 setting.
GA Diversity FIX/VARI Switches
The core of the GA console's innovative GA Diversity system, these switches determine whether the corresponding sends on the input channels - M1 through M4 - function as auxiliary or group sends (see "Four Group/Aux Sends," above, for more details).
Mix Buss Master Strips M1 through M4
The first four mix buss master strips M1 through M4 - receive either the pre-fader aux signal or the post-fader group signal from the channel sends, depending on the setting of the corresponding GA Diversity FIX/VARI switch. Each strip has its own 3-band equalizer and EQ switch, as well as a "to stereo" switch, and a pan control, which assigns the mix buss signal to the console's stereo buss. The mix buss master strips also feature 100-mm faders and AFL (After-Fader Listen) switches.
Mix Buss Master Strips M5 through M10
Mix buss strips M5 through M10 receive the auxiliary signal from the corresponding channel send controls. Like the M1 through M4 strips, strips M5 through M10 have individual 3-band equalizers and EQ switches as well as 100-mm faders and AFL (After-Fader Listen) switches.
Stereo Master Strip
The stereo buss feeds two stereo output pairs: stereo 1 and stereo 2. The main linear stereo fader feeds the balanced stereo 1 outputs, with AFL listen capability. The stereo 2 signal can be derived pre or post the stereo 1 fader, and feeds an unbalanced outut pair via the rotary stereo 2 level control. A mono switch is also provided to sum the stereo 2 signal to mono for instant mono monitoring or to feed a mono sound system.
Stereo Aux Returns and Buss Sends
The stereo auxiliary return 1/2 pair has controls to adjust the level of the returned signal sent to the M1 through M4 mixes and the stereo buss as well as return on/off switch and PFL switches. The signal returned to the stereo auxiliary return 3/4 pair can be sent to any of the remaining mix busses (M5 through M10), or to the stereo buss. The 3/4 returns also have on/off PFL switches.
Two Matrix Mixers
Matrix controls can be used to set up two matrix sub-mixes from the M1 through M4 mix busses and the stereo buss. Both matrix mixes include mix on/off switches and AFL switches.
Flexible Monitoring and Metering
Convenient monitoring is provided by control-room monitor and headphones outputs with independent level controls, and peak-reading level meters providing accurate visual monitoring of the signal appearing at the ten mix busses, the stereo buss, and the PFL and AFL busses.
Handy Rec Outputs and Tape Inputs
Rec outputs provide a line-level stereo output for convenient recording of the main program, while tape inputs with a level control allow the output from a recorder or other line-level source to be added to the console's stereo signal.
