Verkaufe ein Yamaha PM 3000 im 32er Rahmen mit zwei PSU, beides im Case.
Das Pult stammt aus den Beständen des WDR, ist top in Schuß und wurde regelmäßig gewartet
An Selbstabholer im Raum Köln.
Standard channel inputs are differentially balanced and are equipped with a 5-position attenuation pad switch. A variable gain trim control with 34 dB of range enables faders to lower distortion/noise levels. While designed to accept optional IT3000 input transformers, internally, on a channel-by-channel basis, transformerless inputs provide "transparent" sound that many engineers prefer, while retaining excellent stablity and good common mode rejection.
Each input channel includes a 4-band parametric equalizer plus a variable frequency high pass filter. The Low-Mid and High-Mid bands provide peaking equalization sweepable from 160 to 1,600 Hz and 800 to 8,000 Hz respectively, providing a generous overlap of control in the critical midrange region. The Equalizer gain and Q controls are center detented for convenience. The entire circuit can be bypassed or "brought in" on cue through the EQ In/Out switch.
High Pass Filter
The 12 dB/octave high pass filter has its own in/out switch, and its -3dB cuoff frequency can be swept from 20 Hz to 400 Hz making it useable for anything from eliminating sub-sonic components in a full-range recording signal, to low frequency stage rumble in an orchesral or pop music concert, to to vocal "pops" or wind noise, to leakage from lower frequency drums or bass guitar in a close-miked band.
Channel Insert Points
Channel Insert Points can be used as secondary line inputs. Each input channel has a pair of Insert In and Insert Out jacks which serve as a patch point for processors such as compressor/limiters or effects devices. When nothing is connected the signal is normalled to jump across the jacks. Effects devices can be bypassed by pressing Insert In/Out switch on the input module. This saves patching and allows the precise use of effects on cue.
18 "Conventional" Mixing Busses
Channels can be assigned to 8 group mixing busses, as well as a stereo mixing bus, along with 8 auxiliary mixing busses and a cue bus. Input channels can be assigned directly to any combination of the 8 group busses, or the signal can be routed through a pan pot to odd and even numbered busses. They can also be assigned directly to a discrete stereo bus, or assignment to the stereo bus can be made via the group masters allowing the console to function in a sub-group mode.
VCA Grouping System
8 "VCA" switches next to each channel fader enable that channel to be asigned so it is controlled by one or more of the eight VCA master faders. When multiple input channels are assigned to a VCA master, their output levels can be raised or lowered by that VCA master fader. More than one VCA master can combine to alter the level of a single input channel providing a capability that goes beyond conventional busses.
Each input channel has eight mute assign switches that permit their on/off function to be remotely controlled by eight master mute switches. This permits multiple channels to be silenced or activated all at once. Muting can also be controlled remotely, via a rear panel connector that allows for automation and the linking of two PM3000s.
Multi-Purpose Mix Matrix
Eleven sources can be be mixed together into one ouput, or mixed together eight different ways on eight different modules. Each matrix mix accepts a direct sub input from a rear panel connector, plus signals fromt he stereo bus (L & R) and the eight group masters (pre or post master fader, depending on internal switches). All 11 sources go through a matrix master control, an on/off switch, and to a discrete rear panel output.
Four stereo auxiliary returns can apply a stereo signal to any of the group mixing busses, the aux send busses or the stereo bus - with a balance control for relative left/right level adjustments. A switch in each return also permits it to accept a mono signal and to apply that signal to any of the busses which enables the balance control to become a pan control for odd/even or L/R bus assignment if desired. Each aux return also includes 2-band, shelving, sweep-type EQ (with in/out switch).
Cue and Solo Capability
There is a cue/solo switch on every input channel, on the four aux return channels, on every master auxiliary send, the group outputs, and the stereo master output. A master cue/solo mode sets the console for cue or solo mode. In cue mode the console replaces the signal in the headphones and the stereo cue output XLRs with only those souces whose cue switches are engaged.
Multi-point Signal Monitoring
Monitoring LEDs in each channel guides precise input trim and EQ adjustments without risk of inadvertent clipping.
Extensive talkback and communications capability easily interfaces with the most popular intercom systems.
Built-in fixed and variable frequency test oscillator/pink noise source for setup or troubleshooting.
14 VU meters with peak LEDS, are switchable to monitor every bus in the console.
Numerous LEDS indicate status, display clip levels, and illuminate switches with minimal maintenance.
Low profile, extruded aluminum chassis affords a clear view of the stage and is rugged enough for touring, or mobile remote truck applications.