User manual YAMAHA PSS-795

[. . . ] Do not defeat the safety purpose of the polarized or grounding-type plug. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. [. . . ] In addition to the comb-filter effect described above, the delay modulation in these effects causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback used ­ flanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure. Chorus is most often used to thicken the sound of an instrument, while flanging is usually used as an outright "special effect" to produce otherworldly sonic swoops. Reverb and Delay Time A variety of reverb and delay effect programs are provided, and nearly all of then have a reverb/delay time parameter than can be adjusted via the panel PARAMETER control. Small adjustments to the reverb/delay time can actually have a significant effect on the sound. The optimum reverb time for a piece of music will depend on the music's demo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to up-tempo tunes. Delay times can be adjusted to create a wide variety of "grooves", and you need to select the time that best suits the music. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tune's tempo. Reverb Tone Different reverb programs will have different "reverb tone" due to differences in the reverb time of the high or low frequencies, or differences in the overall frequency response of the reverb sound. Always be careful not apply too much reverb, particularly in the high frequencies. In addition to resulting in unnatural sound, excessive high-frequency reverb can interfere with the high frequencies in other parts of the mix. If you can hear more reverb than direct sound in the upper frequency range, try selecting a different effect program. It's always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix. PSS-795 Owner's Manual 17 Mixer Basics Making the Most of Your Mixer Compression Have you ever wondered why professionally produced recordings sound so different from your own?Please connect to only either of these jacks on each channel. NOTE 2 LINE/MIC Jacks (Channels 9/10 to 15/16) These jacks accept stereo inputs and mic inputs. Use these to connect up stereo output devices, such as stereo synthesizers and CD players, and microphones. If you are connecting a condenser microphone, be sure to turn the PHANTOM switch c to its ON position. When using phantom power, do not connect any devices other than condenser microphones to the XLR input jacks. This precaution does not apply to balanced dynamic microphones, however, as these will not be affected by phantom power. If you wish, you may use the channel pair's LINE and MIC jacks together at the same time. But note that the levels cannot be adjusted independently. CAUTION NOTE PSS-795 Owner's Manual 19 Reference Front & Rear Panels 3 INSERT I/O Jack (Channels 1 to 8) Channels 1 to 8 (Monaural) Channels 9/10 to 15/16 (Stereo) Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (1 to 8). You can use these jacks to connect channels to devices such as graphic equalizers, compressors, and noise filters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation. NOTE 3 Connection to an INSERT I/O jack requires a special separately-sold insertion cable--such as the Yamaha YIC025, YIC050, or YIC070--as shown below. To the input jack of the external processor 4 5 6 7 To the INSERT I/O jack Tip:OUT 5 6 Sleeve (Ground) Sleeve (Ground) Ring :IN Tip:OUT Tip:IN To the output jack of the external processor 4 [26 dB] Switch (Channels 1 to 8) 8 8 Pressing this button turns on the attenuator for each channel, attenuating the input signal level by 26 dB. If you have connected a line-level device, such as a keyboard or audio device, set the channel's switch to ON ( ). If you have connected a microphone or other mic-level device, set the switch to OFF ( ). 5 GAIN Control 9 0 A B C D E F 9 0 A B C D E F 6 Adjusts the gain applied to the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain so that the PEAK indicator D comes on only at about maximum input level. [. . . ] Creates the effect of two voices or two instruments singing or playing the same phrase. The parameter adjusts the frequency band to be emphasized. PSS-795 Owner's Manual 37 Reference Specifications Dimensional Diagrams 444 (440 excluding screw heads) 8 155 145 6 493 485 Unit: mm 38 PSS-795 Owner's Manual PHANTOM [-6dBu] +48V CH INPUT STAND-BY RE [0dBu] SUM BA BA ST L(MUTE) ST R(MUTE) AUX 1(MUTE) AUX 2(MUTE) EFFECT1(MUTE) EFFECT2(MUTE) ST L(NON-MUTE) ST R(NON-MUTE) AUX 1(NON-MUTE) AUX 2(NON-MUTE) EFFECT1(NON-MUTE) EFFECT2(NON-MUTE) PFL L/AFL L PFL R/AFL R CH1-8 ST SUB OUT [+4dBu] RE RE INPUT A [0dBu] [-10dBu] SUM PEAK [-60dBu to -16dBu] L/MONO ST SUB OUT R 80 PAN PRE AUX1 [-6dBu] [0dBu] SUM INPUT B [0dBu] ST L A/D ST OUT L BA PAD HA [-34dBu to +10dBu] COMP 3-Stage EQ SIGNAL GR (CH Fader) [-10dBu] BA [0dBu] HPF 26dB PRE AUX2 [-6dBu] D/A GAIN [-60dBu to -16dBu] [-34dBu to +10dBu] INSERT SUM LOW Mid f MID HIGH COMP (TH) DSP L ST GEQ + FRC FBS [0dBu] PFL SUM BA [0dBu] [0dBu] ON EFF 1 EFF 2 Multi Band Comp. [-6dBu] [-6dBu] ST OUT [+4dBu] BA YE [0dBu] SUM [0dBu] ST R A/D D/A ST OUT R ST CH INPUT R CH9/10, 11/12, 13/14, 15/16 MIC [-30dBu to +14dBu] L REC OUT PFL AFL [-60dBu to -16dBu] HA 80 HPF R [-10dBV] INV SUM PRE AUX HA [0dBu] PAN/BAL [0dBu] 1 [0dBu] SUM BA SUM [0dBu] [0dBu] [-6dBu] [0dBu] AUX1 [-10dBu] [-10dBu] 3-Stage EQ BA [0dBu] L MID CH9L, 11L, 13L, 15L [-34dBu to +10dBu] RE LOW HIGH ST CH LINE 2 [0dBu] EFF 1 EFF 2 SUM BA SUM GAIN [-34dBu to +10dBu] [+4dBu] PRE AUX PEAK [-6dBu] AFL ON (ST CH Fader) AUX1 SIGNAL GR SUM YE INV HA 3-Stage EQ BA R [-6dBu] [0dBu] [0dBu] AUX1 [-10dBu] [-6dBu] CH10R, 12R, 14R, 16R [-34dBu to+10dBu] AUX2 [+4dBu] PFL AFL [0dBu] SUM SUM BA [0dBu] SUM [0dBu] EFF 1 [+4dBu] Block Diagram and Level Diagram SUM [0dBu] EFF1 ON/OFF EFFE 1RTN [-10dBu] BA SUM BA D/A [0dBu] SUM BA EFF1 OUT L [0dBu] PHONES [-16dBu] INV SEND EFF 2 [+4dBu] EFF2 ON/OFF AUX1 SUM EFFECT 1 [-6dBu] [-6dBu] SUM D/A [0dBu] EFF1 OUT R PROGRAM AUX2 [0dBu] INV PHONES [3mW 40ohms] PARAMETER PFL EFF 1 ON LAMP [12V] YE POWER AMP 500W LIMITER RE YSP ON 200W 75W EFFECT 2 EFF 2RTN [-10dBu] BA EFF IN 1 A/D EFF IN 2 A/D SPEAKERS [500WMAX @ 4ohms] L AUX1 AUX1 LIMITER YS PROCESSING SUM INV PA PROGRAM 2 PARAMETER BA D/A EFF2 OUT L 1 YE 500W 200W L AUX1 AUX1 A LIMITER RE YSP ON 75W EFF 2 ON AUX1 AUX2 PFL [-6dBu] [-6dBu] D/A EFF2 OUT R YE R MONO AUX2 LIMITER INV PA 2 1 R MONO AUX2 B (METER SELECT) ST AFL/PFL DR (LED METER) ST AFL/PFL DR 0dBu=0. 775V 0dBV=1V (+35. 2dBu) SPEAKER OUT MAXIMUM OUTPUT POWER [500W/4ohms] [125W/4ohms] (+29. 2dBu) Clip Level Clip Level +20dBu ST OUT, ST SUB OUT [+4dBu] AUX SEND, EFFECT SEND [+4dBu] CH & ST CH to ST [0dBu] (PAN, BAL hard left/right) 0dBu ST SUB level control CH & ST CH to AUX/EFFECT [-6dBu] [-6dBu] ST, AUX fader [-10dBu] REC OUT [-10dBV] [PHONES 3mW@40ohms] -10dBu -20dBu PHONES [-16dBu] -30dBu -40dBu -50dBu -60dBu -70dBu +10dBu +40dBu +30dBu +40dBu +30dBu +20dBu Clip Level Clip Level CH INPUT (PAD ON) GAIN Min. [+10dBu] 0dBu INSERT I/O [0dBu] -10dBu CH INPUT (PAD OFF) GAIN Min. [-16dBu] ST CH IN [-10dBu] Clip Level ST CH MIC [-16dBu] CH fader [-10dBu] -20dBu -30dBu CH INPUT (PAD ON) GAIN Max. [. . . ]