Used M3000A | For Sale Item# 23958

M3000A

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.

RF(Radio Frequency) Noise Rejection
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 noise generated by motors, video Monitors, and digital equipment of almost any kind can make the cleanest, quietest circuitry virtually worthless. The M3000A boasts outstanding RF noise rejection, so you can use it just about anywhere without picking up unwanted interference than can degrade your signal.

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 Yamaha publishes 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, 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.

FIX Switch - Eight Group/Aux Sends
If a FIX/VAR switch is set to the "FIX" position, the corresponding send controls then function as post-fader group sends. The send 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.

Eight Aux Sends
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 (the four mono sends as one group and the two stereo sends as the second group.)

Stereo Assign and 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 corresponding channel signal to the console's stereo buss.

3-Point Level Indicators
All mono and stereo channels feature 3-point level indicators for accurate monitoring 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.

Channel Faders, Pre-Fader Listen and Channel ON Switches
Smooth, noise-free 1000-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 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 (Voltage Controlled Amplifiers) Group Assign
VCA grouping allows channel grouping and assigning to any of 8 VCA master faders in the master section without actually re-routing the channel signals, maintaining unsurpassed signal quality. VCA GROUP switches next to each channel fader assign the channel to corresponding VCA master fader. The high-performance VCAs are located immediately before the channel faders, thus function in essentially the same way as the channel faders themselves, adjusting the level of the channel's post fader signal.

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 send.

Mix Buss Masters
The first 8 mix buss master strips, M1 to 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 to M16 receive the auxiliary signal from the corresponding channel send controls. While M9 to M12 have independent controls, M13 to M16 are configured as dual stereo masters.

Each of these mix master control groups has its own linear fader as well as a "TO STEREO" switch and pan control 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. 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.

Mix Outputs, Inserts and 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.

D...