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- Опубликовано: 28 сен 2024
- Dave tears down a monster of a mixing console!
A Professional 40 channel Yamaha M3000 mixer designed for sound reinforcement and concerts.
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For those who wondered what this beast cost back in the days. The MSRP for the M3000A reached from $11k to $17k, for 24-56 channels with VCAs.
That is a decent price for such a mixer. Expected it to cost more
With all pots, filters, VCA:s and opamps, wire looms it migh contain a nice set of parts for making an analog synth.
Or the worlds most complex fuzz pedal ever created.
Having been the technical friend of a number of musicians years ago I can say they aren't very complex to use. It's intimidating, but it's just a lot of repetition. The real challenge is having an ear for what you are doing.
There are plenty of people that will say they want to help be a roady so they can meet the band, hang out, have fun, learn how to use the equipment... After running a couple dozen cables they tend to suddenly disappear. Those that do stick around to help set everything up are not there when it's time to take it all down.
Another fun thing about doing live audio at a concert is that when everything runs well the tech gets no attention. If a guitarist is standing to close to his amp and it feedbacks (not something the board operator can control), the audience turns and give the tech The Eye.
So true.....
The only way you know you are doing a good job is if nobody notices XD And i dont get the pikers, there is no feeling like seeing a gig through from plan to bumpout, the feeling when you get off and chill is incomparable
Absolutely agree!
your cordless screwdriver makes really weird whistling noises
;) :D
That's because Dave is a Time Lord ;-)
I spent my best years working at a radio station and doing live sound on this puppy's younger cousin. As soon as I saw the thumbnail my hands were shaking. This video was a treat. Brought back memories of diagnosing in the field and bodging on-the-spot repairs. Beautiful old school engineering. These devices really have a soul. Just superb.
Thanks a bunch, Dave!
I'm a live sound audio engineer. This was better than porn to me!!! :)
+erikdravn me too in the past, reminds me of the days where i used to do FOH....I used these consoles...:)
12 hours + per week combined at my church for
The past 4 or 5 years. It's a thankless job isn't it? Good to see another member of the “club”
Loved this also, takes me back, I gave up FOH mixing 5 or 6 years ago (Nexo, Crown, Allen & Heath).
+UNENSLAVER haha, same here. nice to hear Dave figure out my domain
+erikdravn I thought I was watching snuff porn though. He said they put it back together when they were done so it's cool.
I'd thin that big-ass ground strapping is more about signal integrity than current
+mikeselectricstuff Well, yes, not actual current handling ability, as we are only talking a few amps which a connector pin or two could handle. But getting extremely low drop over big distances at those currents requires those big strappings for low impedance.
+EEVblog They are indeed there for signal integrity. My Allen&Heath mixer has one big strip going along the whole board (only 24 channels).
+mikeselectricstuff You are alright Mike, and to avoid ground loops too.
+Wouter Weggelaar And I'd much rather have the Allen & Heath too. Much better sounding and better built desks than Yamaha. At this level the boards should all be fibreglass and all sliders and pots should me mounted on discreet channel strips for serviceability.
+mikeselectricstuff If you look into the service manual the big copper strapping is labeled "SUM-GND". It's not only the power-return but also the reference voltage for the busses (the summing junction).
Some boards do the sensible thing and have separate ground-reference pins on their bus connectors, thereby decoupling power distribution from the signal-reference. But probably copper was much cheaper when this board was built ;-).
Loved this video. Many of your videos go right over my head, but with this one I found myself yelling at the screen trying to tell you what stuff was and why it was like that.
I do live sound (not to mention lighting, etc), I'd really like to see your reaction to the insides of some other consoles.
There is a BIG reason having things modular is key, if something dies before a show or during a show and you NEED it, it is not unheard of to open up the console and start having at it, swapping parts, making spot repairs at the component level even.
I remember killing a section of a console mid-show (at a music festival) during a small act to repair a section of the console live. Had consoles open mid show far too many times.
+Steven Allen Live on-site repair during a show, awesome!
EEVblog yes indeed. Gotta do our best to make sure the show goes on! Thank god the better consoles are very modular.
A soldering iron inside a console on site is a bit of a nerve racking thing I'd say.
+Steven Allen You should get a fake pair of legs (i.e. jeans bottoms and boots), lift a section and stuff that in. Any one complains just say "The guys in there now working on it!"
+Steven Allen As an Audio Engineer myself, its really interesting to see the internals of a board, although I cringed at the idea of tearing a board apart. Regardless, cool to know the things buried within!
45redrooster
Completely agree... I have an old Soundcraft Spirit Studio that I've had to tear apart to get working fully again. Too bad the thing was way too much of a pain in the butt to transport most of the time for me lol
I have the baby brother to this console (mc2403) and was incredibly interested in this video. It is so neat to have someone who really understands electronics dissecting the various functions even when he has no clue how to use, or even the purpose of some of the parts. Amazing, now I want to experiment with my own board more.
These consoles though they look quite impressive were built as a low cost alternative to there PM series (PM4000) which were one of the industry standard touring desks.
Hi Dave, the SSM2018 is made by Analog Devices and is a Trimless Voltage Controlled Amplifier. I had a friend that was into designing custom audio equipment so I recognized the part number.
Really enjoyed the teardown, don't often get to see gear bigger than yourself!
I feel special because i know what everything does xD
+Geoxor Well, once you know how to use everything on channel 1, you basically know how 90% of it works.
+Geoxor me to mate
lolz larkin yup :P
i know how they work cus i produce music and the terms that the mixer has writen on it is oftenly used in DAWs (Digital audio workspace) (aka music making program :P)
+Geoxor Good boy. I was trained to use recording studios and couldn't find a job so I got an electrical engineering degree instead.
+Geoxor Yea :P Finally not everything on Dave's channel goes over my head XD
VCA = Voltage Controlled Amplifier. In this mixer, this facilitates mixing multiple channels using a single fader. Helpful for grouping drums, etc.
I learned live mixing on this thing's big brother, the PM3000 (and later, the next generation PM4000). The PM's are even more modular, in that each individual channel can come out and be replaced on it's own, and you can get mono or stereo modules.
The Matrix sends are used for a lot of things; sends to time based effects (reverb, delay, etc.), monitor mixers so the players on stage can hear each other, delay clusters (speaker clusters placed further back in the room, and delayed to match the mains - this is to fill dead spots in the room, and is pretty uncommon these days, as everyone else seems to love line arrays), and sub-mixing things like drum sets (though on a console like this, you are more likely to use the VCA's).
VCA's are control groups. You assign the individual channels to the central VCA faders, and you can control the channels in groups. They have VCA group mutes as well. On this generation, the scene memories usually just dealt with the VCA groups. So, you mix the drums, and assign them all to (say) VCA 1, and you can control the overall drum level with one fader. You can also use one of the matrix busses for this, but the extra summing will usually add more noise than you really want.
The stereo channels are mostly used for effects returns.
Inserts are for amplitude effects (compression, mostly, and noise gates).
The mic input in the mains section (the center section) is for a talk back mic, so you can communicate with the stage during sound check.
40 channels of noise (and 20 mix busses) adds up quickly - the shielding on the relays is not optional! Keeping the noise floor below 90dB is tough! That's a big part of the external power supply too - internal power supplies just don't work on boards this big!!!
Yamaha boards have a mixed reputation - some people love them, because they are very clean, and basically do exactly what you tell them to, with out coloring the sound. The EQ's are considered by many sound engineers to be rather sterile. I tend to think it is just a matter of preference. I think they sound great for jazz, classical, or corporate talk talk gigs. Not great for rock and roll, though! What they really do, though, is expose the mixer's skill level - you get out what you put in, and if you know what you are doing it will do exactly what you tell it to do. A lot less forgiving than some boards if you aren't so skilled!
It's not a baby, but it is a mid-level professional console, and a 20-30 year old design at that. These days, everything is digital, and EVERY promoter is constantly arguing for smaller and smaller footprints at front of house. Still, back in the day, those boards probably did more events than any of the higher end consoles, and while they are not quite as versatile as a 4k or Midas XL4, it probably cost about a quarter of the cash, and they sound pretty decent.
The good old days with the PM4000 when you had to tear out the channel strips between songs and hose them down with contact cleaner...
Regular scheduled maintenance, my friend, regular scheduled maintenance. We used to clean our patch bays every six months. Sure, it's a pain, but it sure helps avoid problems.
another reason to shield those relays is to not cause noise inducting into the audio channels. clicks, pops, and interruptions.
I never get tired of watching you tear things apart explaining how it works.
This would be the best answer to "why digital" questions
I agree!
+Abdurrahim Cakar Also analog EQ creates phase shifts between different frequencies leading to quite a bit of distortion if not compensated properly. You don't have that effect in a digital mixer. Width 24 bit resolution and 96 kHz sample rate being standard you don't have any noticeable signal degradation due to the digitization itself.
+Abdurrahim Cakar I'd exchange my laptop for one of these any day :)
why digital ? "every idiot can count to one"!! :DD
+Jan Vomočil
Why Digital ? Because there's no room for noise between 0 and 1 !!
Having worked a PM1000 16x4 I can attest these are sweet machines in every possible way. Smooth sliders with rubber rollers on the back, contoured knobs you can tweak in the dark with full confidence, not many machines out there you can operate completely by touch like these.
Three years late here, but...
It was fun to see this blast from the past. In my career I kind of skipped right over the 3000 series and went from the 2K to the 4K and then the 5K. Now, of course, everything is digital and these old workhorses are rarely seen.
Anyhow, it was really fun to read all the comments about what this and that does. We used to take the opener's console into the sub-in's so that we could use the same monitors while keeping the opening band engineers from messing up our mix on the headliners console.
Inserts on the outputs were, 99% of the time, used for EQ's to keep the feedback to a minimum.
As far as inserts on the inputs, I saw a lot of people here that had "absolute" ideas about how dynamics, eq, and effects should be handled. I'm guessing they are pretty linear thinkers. I would suggest that they open their minds to the endless ways of making sound great (again!) Sorry! Couldn't help myself...
I will tell you that I have seen every variation on a theme that you could think of with inserts and how to use them. There is no wrong way to do things if it works for you and your artist. Thanks Dave. Great stuff.
What a great thing for a teardown.....Thanx Dave!!!
I used to work with a little brother with 32ch into 16ch sub into 2ch main out with lots of subOutd for stage monitoring and effects...
YM-consoles always done a good job, when I worked on and with them, especially in live situations where a clear routing is essential..
What a nice thing to see one if them here! :)
You can't imagine, how excited I am to watch this video! I'm sort of a selfmade Audio Engineer, and love to tear down my equipment, repair it or develop my own stuff. This is so inspiring!
My Yamaha 01V Digital Mixer was really nice to tear down, Yamaha clearly knows how to make their stuff servicable. really nice system engineering! This bad boy on the other hand looks a lot more challenging :D At that size it's really hard to make it servicable.
The phantom power caps where the only part that died so far in my 01V, they were only rated for about 50V, sadly that seems to be "okay" to save cost.
The SILs from JRC are often used in Yamaha mixers I saw so far, they seem to prever SIL-packages, e.g. for their DM2000 digital console. 5532 are not that often used there, I guess, maybe for saving space.
For me personally, this was one of your most interesting videos, even without you knowing everything about it while filming. Thank you, I really liked it!
I just picked up a 16 channel Tascam recording board today for some small home recording projects. The guy I bought it from purchased it brand new in 2011, opened the box to make sure that everything was there and then never got around to using it. When I say this thing is in brand new condition, I'm not kidding. The plastic bag covering it was still taped closed and the power supply cables still had those twisty things on them to keep them bundled. The best part..... I got it for $65 US. (Deal of the century!) I was feeling pretty good about my new board until I clicked on this video. Now I want to go kick it. LOL I'll just go play with some faders on my 32 chan live board to make myself feel better. :-)
That is one sexy mixing console, gotta love Yamaha mixers!
The split in the bus board is the traditional right side end to a mixer, so the channels to the right are addons.
That's an entry level, very entry level, touring desk. The upper end consoles have individual modules that you can remove on a singular basis for repair, replacement, or even reconfiguration.
Looks like the price ranges from 1500 - 15000 EUR used (there's a few models with different channel counts).
+Anders Evenrud: these desks sell for approx. 1000 Euro her ein Europe (sometimes even cheaper)
+Max Koschuh That's not bad at all! With power supplies?
+Anders Evenrud Look for the A model. It has some fixes (like LEDs on the PFL buttons). For 1000€ or less it might be ok, but I'm sure there are better options, depending on your requirements and your ability to fix the thing as some part will certainly fail.
+Anders Evenrud anyone of a sane mind would buy a digital mixing console if working with that many tracks :) My mixer is about 1/3rd of the size and can mix twice the number of tracks. The only real reason to get a huge analog desk is for recording purposes, if one is (for some reason) in love with the preamps that come with it. For instance a Neve desk from the good old days. Personally I'd go for a modern set of transparent preamps from a brand name. They will be so close in spec (and so transparent) that any will do :) [also, did not realize you watch EEVBlog, nice to see you here]
+spookanide They are a little obsolete... If you're dying to go analogue save up for something nicer.
When I was a senior in high school my buddy asked me to help do the mixing of the school play and I get there that night and none of the other sound guys could make it. I had to learn how to use that machine and mix everyone on stage and the pit band, which is a job meant for 3 people.
With the "scene memory" you can program mute scenes, so you recall which channel is muted which unmuted. Same works with mute groups, you can mute/unmute multiply channels using one button
That 7805 5V rail made me smile. Simplicity at it's finest.
But really, I gotta say, this thing has some seriously complex analog mixing circuitry put into it.
Very well engineered. Seems fairly straightforward to service as well.
+1 to Yamaha. Yamaha FTW!
I know that desk very well.. I trained on a PM3000 back in the 90's and used the M3000 often enough over the years ... seeing this makes me feel kind of old lol
Worked on pro audio/video in a previous life. These units were well built and a joy to work on. Great vid as always.
Insert I/O = INSERT In & OUT. Use a TRS ---> TS/TS . TRS jack goes into the insert plug at the back of your consol and the 2 TS jacks go into INPUT & OUTPUT of your external device ( Noise gate, compressor, or whatever you want in your channel path)
dat tripod fail
priceless 😂
+~☆ XzCraftP ☺♂ reminds me on scary movie: "One day I will build my own tripods,.... with four legs"
+Max Koschuh Then it wouldn't be a tripod, rather a quadpod
+~☆ XzCraftP ☺♂ Someone send Dave one of these i.imgur.com/l73a4wu.jpg
+Jordan Johnson (Mighty Burger)
That's the core of the joke.
No size problem with the heatsink size of the 7805!
Size, no, but the sheet metal thickness greatly limits how efficiently heat can be conducted away (particularly in the case of a steel chassis). But for a lightly loaded 7805 the chassis is perfectly adequate.
The relay magnetic shield -- I would guess to keep the relay coil from inducing clicks on the audio channels as it is energized or de-energized.
Such a gorgeous piece of tech, if bloody massive
I’m making my own sound. My own music. My own creativity. Having something like this to use or completely harvest parts from would make my Thinker Tickle.
In 1986 I built the (Jaycar?) 16 channel mixer kit. Boy, was that ever a job of work.
Used with a couple of 300W MOSFET power amp kits also from Jaycar.
Once debugged, it wasn't a bad piece of kit.
The relays are for the "scene" feature. Scene allows you to create, well, scenes with certain channels muted or open. By switching to the next scene, specified channels are muted or unmuted.
This seems my (old) Hill Audio Multimix mixer i'm using for recordings.
They are awesome built, and they are built for lasting and easy maintenance (if you have an issue with one channel, you can simply remove the channel, without have to remove everything else).
Interesting video, very nicely built device. Thanks for showing.
Wow an SSM2018 VCA. SSM = Solid State Micro Technology for Music. They made IC's for synthesizers in the late 70's and most became "obsolete" in the 80's with CEM (Curtis Electromusic). SSM was bought out by PMI, which in turn was acquired by Analog Devices, hence the logo.
That's huge wow!! I serviced one that I don't recall how many ch it was I think either 28 or 38 it's been a long time ago. It was at a big Baptist church I went picked it up for service. Had broke connections on the sliders where they were putting their weight on the controls hooking stuff up in the back of it Lotta contact cleaner went into that thing.
I have used this console many times. M1-M16 are mix busses, not matrices. On this console, the matrices are created (mostly) from the mix busses. Every manufacturer configures matrices differently. ST channels are stereo channels with minimal EQ and routing used for pre-recorded music sources. It's a decent enough console. The previous generations of Yamaha consoles like the PM1000 are quite sought after because the preamps are class A discrete. They have been referred to as "Japanese Neve".
The huge copper straps and the shields on the relays are for the same reason to be able to meet the noise specifications. (relays pop on release)
@EEVBlog the Shielding on the relays is most likely to prevent RF noise (or clicks) from being picked up on the audio channels and affecting the overall sound quality, since it is analogue. :)
minor trivia - the mic is mainly for communication with the stage, you dont normally sound check with it
I used to mix front of house on the 56 channel version of that 10+ years ago.
Ours had another 8 channel bank each to the left and right of the center.
I believe we paid around 15k for it in the very early 2000's.
+Ken Porter Were you happy with that thing?
blitzwing1 This thing here is not a studio mixer, it is for live mixing. For professional live environments, analog console are no longer used, as good modern digital ones are better in almost any regards. For recording, huge incredible expensive analog mixing desks (with digital controls) have their place in top end studios.
+blitzwing1 A lot of the desks nowadays are software driven, but there's still no replacement for a huge bank of knobs and sliders to allow you to easily and rapidly set levels. Some of the more modern desks are basically a digital interface to a digital mixing setup, but most desks are still primarily analog mixing.
I love how for the first time, I know more about a product on the EEV-Blog than Dave. At least about how you use it ;)
The craziest thing about this whole teardown is that an inexpensive (in a relative sense) digital board like the Behringer X32 does a much as this board and a whole lot more with better specs and full storage and recall of EVERY setting with motorized faders and takes up about a third of the space. That's not to mention that the need for most outboard gear is eliminated because EQ's, effects, and all that stuff is built in. I would never want to go back to working on an analog console after using a digital console for the past three years. I would love to see a teardown of something like the X32 as I believe Behringer has come a long way in improving the quality of their products and it would be interesting to see what Dave thought about it.
The sound quality is better on an X32 but the build quality is much worse and I say that as a happy x32 owner. You can't compare the quality of a real digital encoder fader module like an Alps (used by Yamaha on their digital consoles) with the cheap open frame ones on an x32.
Jackson Linder Yeah but gotta love the old analogue desks. They were/are great.
dave the mix inserts are to "patch in" outboard gear..mainly dynamics processing like compressors, etc
Hey Dave.
How did engineers design these sort of things in the pre-CAE era?
Did computers served PCB design since the beginning?
What's your experience? How it was done on the 80's?
The relays are shielded magnetically to avoid magnetic coupling into the circuitry at the low signal levels found in these mixers. The transients would couple into the audio. You can bet this was a "fix" that was required after production.
I use to work at a nightclub/concert venue back in the 90s and loaded in and out all the bands equipment. Had a band called "They might be Giants" bring in their own sound board about that size. Was a mother to get that thing moved upstairs and back out of the place. Thing had to weigh 200lbs.
I used to service a PM2000 back in the 90s. SSM2018 is an Analog Devices Trimless VCA. Nice chip, now obsolete.
Always wanted to take one of those apart and see how it worked :) Cheers mate for the video!!! I could build so much stuff with that thing.
It's funny to see how these big guys have been replaced by things as small as the X32 by Behringer.
But the x32 does loads of good on the ol' back! (Seasonal job is a Live Sound Engineer)
Best. Teardown. Ever! I actually understood most of it for once! :-)
when the video first started, I thought, that's small then Dave pops up then mind blown, that's huge!
You should try and take apart an SSL 6048 G+ 48 channel analogue console. Each channel is made up of at least 1 full length PCB, now that's a beast!!
Just briefly looked on ebay - you can get an power supply for this mixing board for as little as $75 (buy it now price). So, someone might get a full set-up working with this thing someday.
20:49 Nomi= Nominal Signal Level Indicator. (Where you want it to be)
NwAvGuy was a big advocate of the NJM2068 in low gain circuits.
Dave, Many of thease boards are CTO, so there's alot of "Modularity" to them, I've seen that same board witthout the channels to the right of the master section. That yamaha is actually one of the "BMW's of its age" Although very clean sounding board, not very complex in comparison to others in its same vintage. even for a FOH board. There's even Field retrofit kits for some consoles to allow you to move your mains section around in the frame or to add aditional features. Great tear-down tho.... Love to see ya tear its powersupply apart.... those things were EPIC
Next you should tear down an analog synth.
You can try pair one of your system power supplies to this and use this as your primary audio mixing station. If lugging their original PSUs are too much of labor I believe those switch-mode yet high precision system power supplies can cut it.
SSM2018 Trimless VCA, extremely high dynamic range, -100 to +40 dB gain range, 0.006% THD+N Max @1 KHz (holy shit!). Very popular among us Synth DIY enthusiasts and audiophiles alike ;)
And datasheey at
users.ece.gatech.edu/~lanterma/sdiy/datasheets/vca/ssm2018.pdf
(~lanterna? I somewhat recognise the name from the SynthDIY mailinglist?)
That's what I needed:
Top tier teardown.
Yamaha quality right there! Note the string wrapped wires. :P The 48 volts I assume is for non powered mics. You could also clean up the sliders and sell it for around $1,000 (or aussie equivalent). Wouldn't even have to take it apart again just get yourself a vacuum, suck up the dust and spray each slider with some deoxit. The potentiometers rarely ever get dust in them because the knobs are almost strait up.
Looks like the only thing that uses the tacked on 5V regulator is the EPROM and logic ICs on the digital board.
That was fascinating. Just as complex as one might think they are inside.
Awesome video Dave, your efforts are appreciated! :)
The Yamaha M-series (M for Mixer) have been the cheap version of the PM-Series (Professional Mixer). But both products would not have been accepted by any serious Band In those days. Preferred boards were the Midas XL4/ Midas XL3 or Midas XL200 or a few years later the Midas Heritage-Series. Nowadays almost every production uses digital boards. Greeitings.
I can't imagine how many cold solder joints I'd find in that gear. That old style thru-hole construction would be loaded with them.
I loved the series you did with Doug Ford on mic design. It would be awesome if you could get with someone from the audio world and talk filters, gain structures, etc from an electrical perspective
Salvage parts heaven for audio projects.
That is some serious electronics.. Definitely a big team of engineers would have had to work pretty hard on this one, just for the functionality and all the circuit and PCB design, not even mentioning the amount of industrial design for making a usable physical product! (So all the effort for mechanical layout, usability, making sure PCB panels do not collide etc.. ) All of this done back in the early 1990s is also amazing and hard for me to imagine the crappy old CAD packages available at the time.
22:38 The proper term in the audio community for the dusty fellas you pulled out of the fader is Mung...lol...hated fixing those boards...Thanks for the vid!
"That ones upside down. all the electrons are gonna fall out" HAhahah! I love your little jokes like this.
When I worked in the music industry the Yamaha PM4000 was my desk of choice for live FOH. With the psu missing it's a bit bum. I can remember at some poxy provincial theatre they didn't even have the crew to lift the desk. Scene set is more of a theatre application than music.
+EEVblog to answer your question at 36:25. The board was cut short so that the digital part perpendicular to the top panel could fit when it was closed.
Those big copper bus bars are shields for the board interconnects on the primary audio buses, not high current power lines.
The center master mixing board is likely that size because it was used in other mixing boards. Why redesign a wider board for just that one model when a couple of cents of wire can fix the width issue?
It was $12999 new. And that lack of board on the right hand side near the end was to allow the vertical board above to fit in.
It's worth mentioning that while a 0.1% THD spec may seem rather "average," note that it's 0.1% @ 20hz-20khz. Most consumer gear gets rated at 1khz, and the distortion characteristics fluctuate over the response spectrum. :)
Hee hee... I'd love to see my little Yammy 12-channel 4-bus home studio console next to this beast, to get a proper idea of the size difference. It's a great little mixer, bought for $350AU about ten years ago and the only thing I've ever had to do to it is spray a bit of CRC in a couple of the channel sliders.
You Sir are a hardware historian, You should open a museum for the next generations to see how "modern" technology was born and raised and learn a thing or two.
Would been easier to teardown and then deliver each section. If ŷou ever sell it on.
I've mixed on this board, doesn't have the greatest sound for the main mix. But the matrix features make this board great for monitor/in-ears mixing.
I've mixed on this model console before, its a real nice board to mix on. I'd sooooooo love to get my hands on this board, but it would cost waaaaaaayyy too much to ship. I really hope he does something with this and puts it back in a venue, that board may be older but they were built to work
The memory is to recall the state of the mutes on the channels and outputs for different songs/scenes. And that console is actually Prosumer level, not professional, a ''newer version'' of a non memory recallable console, thats why each input switch has it's own board for ''on/edit'' and maybe why the 5v it's a little bit shabby solution.
The Mix Sub in, was a easy way to link another console for expansion, routing your outputs from console 1 directly into the summing bus of console 2.
I think the space on the right of the main bus board it's just for clearance for the perpendicular board that it's mounted in the top part... another theory it's that for the 24 channels console, actually the console ends there, so maybe they didn't found it required...
Here's a suggestion for if you can't sell this, Dave.
Figure out how to power and operate the modules individually (in a video of course) then sell the modules separately.
The buyers can then use your video to hack together their own power supply and have a little 8 channel mixer and maybe make their own master section for it.
Or at very least, the buyers will have 8 decent preamps and EQs, which they wouldn't otherwise be able to acquire, to put in their own projects.
Dave, I'm gonna need ya to come in this weekend to recap this console, mmmm..kay?
That is one big mixing console. It is rare to see you that far away from the camera. :-) A lot of work went into wiring that up.
This is awesome, because I use mixers for combined 12 hours a week at my church. I've always wanted to see exactly how they work
Dave I see people operating these consoles in recording studios. One question I have is sometimes the people operating them they do something and the sliders move sort of like when you change the EQ in your phone or PC and the sliders change positions. I've always wondered how that works on these big consoles, possibly a tiny motor beside each slider? It doesn't look like the console your tearing down has these.
Love your videos Dave.
+coondogtheman1234 Yes, they're motorized faders.
Raphaël Doursenaud
I figured they were but the one Dave tore down didn't have any. Guess they don't need that function at a concert.
They are rarely seen on analog mixers and common on digital mixers.
Big studio consoles have them for "scene recall" and/or DAW control.
This is a first, Dave is wearing something on his feet. (OK the bunker isn't carpeted).
Dave that thing has tons of useful parts for someone willing to unsolder it all. You could break it up into smaller pieces and put it up on ebay.
Mopping up several liters of drool... In good nick with a PSU, these puppies are quite valuable.
Yes you will not find surface mount components, and in the 80's and 90's double sided boards were alot more expensive than single sided with jumpers., hence Yamaha did it to cut costs.
I learned to mix on an M2000. That was in 1996 and it was brand new. Yamaha's are rock solid, you could roll this thing down a flight of stairs and it would keep ticking. Once you learn what one channel does, you know them all.
Also, roadies are NEVER allowed to adjust a console, they're just grunts. The operator and maybe a trusted assistant of the console should be the only one(s) adjusting anything.
It may have been mentioned already, but I'm pretty sure the SSM2018 is a mic preamp.
You were perhaps thinking of the SSM2017, later replaced by the SSM2019 (still alive). Good preamps!