YAMAHA msp-10-b 维修电路原理图.pdf

《YAMAHA msp-10-b 维修电路原理图.pdf》由会员分享，可在线阅读，更多相关《YAMAHA msp-10-b 维修电路原理图.pdf（4页珍藏版）》请在收音机爱好者资料库上搜索。

1、For details please contact: Printed in Japan This document is printed on chlorine-free (ECF) paper with soy ink. MSP10 STUDIO Block DiagramFrequency Response MSP3 MSP5 SW10 www.yamaha.co.jp/product/proaudio/homeenglish 10k1k10020 FREQUENCY (Hz) RESPONSE (dB) 40 30 20 10 0 +10 LOWHIGHLINE12 144 mm 23

2、6 mm 6 mm6 mm155 mm 167 mm 459 mm 328 mm407 mm 476 mm LPF HPF TRIM HIGHLOW 1.5 0 +1.5 3 1.5 0 EQ Hi Low HPF LOW CUTSENSITIVITY INPUT 265 mm 420 mm 120 mm2-M8 Screws 61.5 mm 329 mm 262 mm 5.5 mm 85 mm 160 mm 169 mm 270 mm 279 mm 171.5 mm 222 mm 7 mm43.5 mm LPA466E P O W E R E D M O N I T O R S P E A

3、K E R S General specifications TypeAmplified 2Way Bass Reflex Powered Speaker (Bi-Amp.) Crossover Frequency.2.0 kHz, 30 dB/oct Frequency Range40 Hz to 40 kHz (10 dB) Sensitivity10 dB at 6 dB position (for 100 dB/SPL, 1 m on Axis) Maximum Output Level 110 dB (1 m on Axis) Dimensiones (W x D x H)265 x

4、 329 x 420 mm (10 3/8 x 12 7/8 x 16 1/2) Weight20 kg (44.1 lbs) Speaker unit Speaker UnitLF: 20 cm Cone (4 , magnetic shielded) HF: 2.5 cm Titan Dome (8 , magnetic shielded) EnclosureType: Bass Reflex Amp. unit Maximum Output Power LF: 120 W at 400 Hz, THD= 0.02 %, RL= 4 HF: 60 W at 10 kHz, THD= 0.0

5、2 %, RL= 8 Input Sensitivity/ Impedance 6 dB to +4 dB/10 k Hum & Noise 67 dBu (Volume= Min) DIN Audio filter Signal to Noise Ratio 98 dB (IEC-A Weighting) ControlsTRIM Switch LOW: 3 positions (0 dB, 1.5 dB, 3 dB at 50 Hz) HIGH: 3 positions (+1.5 dB, 0 dB, 1.5 dB at 10 kHz) LOW CUT Switch: ON/OFF SEN

6、SITIVITY Control POWER Switch: ON/OFF ConnectorsInput XLR-3-31 Power Indicator/ Clip Indicator Green/Red LED Power RequirementUSA and Canada: AC 120 V, 60 Hz Europe:AC 230 V, 50 Hz Korea:AC 220 V, 60 Hz Australia:AC 240 V, 50 Hz Power ConsumptionUSA and Canada: 150 W Others:170 W OptionWall mounting

7、 bracket BWS251-300 MSP3MSP5SW10 TypeAmplified, 2-way, bass-reflex powered speakerBiamp. 2-way, bass-reflex powered speakerAmplified bass-reflex powered speaker Overall Frequency Response65 Hz-22 kHz (10 dB)50 Hz-40 kHz (10 dB)25 Hz-150 Hz (10 dB) Maximum SPL98 dB (1 m)101 dB (1 m on axis)111 dB (1

8、m on axis) Power Consumption30 W60 W160 W Dimensions (W x D x H)144 x 167 x 236 mm169 x 222 x 279 mm328 x 476 x 459 mm (5 11/16 x 6 9/16 x 9 5/16)(6 5/8 x 8 3/4 x 11)(12 7/8 x 18 3/4 x 18 1/16) Weight4.4 kg (9.7 lbs)7.5 kg (16.5 lbs)26 kg (57.3 lbs) Specifications and appearance subject to change wi

9、thout notice. All trademarks and registered trademarks are property of their respective owners. Specifications and descriptions in this product brochure are for information purposes only. YAMAHA Corp. reserves the right to change or modify products or specifications at any time without prior notice.

10、 Since specifications, equipment or options may not be the same in every region, please check with your YAMAHA dealer. All trademarks and registered trademarks are property of their respective owners. SPECIFICATIONS SPECIFICATIONS MSP Series Speakers M S P 1 0 S T U D I O F E A T U R E S “Good” Soun

11、d Is Not Necessarily “Right” Sound The last thing an audio professional needs is flattering sound. They need the truth precise reproduction that clearly reflects even the tiniest changes in EQ, dynamics, effects, or any of the multitude of parameters that add up to create the final sound. Thus, unli

12、ke many home-use systems that can simply be made to sound “good,” reference monitors have to sound “right,” and thats an entirely different story. Heres where inspired design, uncompromising material selection, innovative technology, micron-tolerance manufacturing, and a good dose of one elusive ski

13、ll that only comes through long experience knowing what “right sound” sounds like become vitally important. The MSP10 STUDIO design team, headed by Akira Nakamura, designer of the original NS10M, has all the necessary skills, resources, and dedication. And with development assistance and feedback fr

14、om industry luminaries, the Yamaha MSP10 STUDIO delivers performance you can bet your career on. Powered for Consistent Quality & Convenience In any situation speakers are part of an interactive “system.” This includes the speakers themselves, the amplifier that is driving them, and the room in whic

15、h they are used. Ideally, all of these elements must be carefully controlled to achieve optimum performance. By integrating the power amplifiers and speakers, at least part of the equation can be kept under perfect control (the room is up to the user). The MSP10 STUDIO power amplifier/speaker system

16、 is ideally matched and precisely tuned to achieve the best possible performance. Of course, the power amplifiers themselves are of the finest quality. And unlike component power amplifiers which must be designed for acceptable (read: “compromised”) matching with the widest possible range of speaker

17、s, the MSP10 STUDIOs amplifiers are designed and manufactured specifically to drive the systems woofer and tweeter specifically in the MSP10 STUDIO enclosure. No matter where the MSP10 STUDIO monitors are used, and with what sources or other audio gear, you know that youre always receiving the benef

18、its of a perfectly matched power amplifier and speaker system. Youll hear the difference. Youll also benefit from the convenience of not having to deal with external amplifiers and cabling. Advanced Bi-amp Design There are a number of advantages to multi-amp speaker setups, but many people shy away

19、from the added cost and extra equipment required. With the MSP10 STUDIO everything you need is built-in all you have to do is supply the line-level input. The 8-inch cone woofer is driven by a 120-watt power amplifier, while the 1-inch titanium-dome tweeter has its own 60-watt power amplifier. In th

20、e MSP10 STUDIO this particular power and impedance combination results in the perfect balance between the low-mid and high frequency ranges. The frequency ranges are divided via a carefully designed electronic crossover before the power amplifier inputs, featuring steep 30-dB/octave roll-off curves

21、in both the low- and high-pass filters. The steep roll-off minimizes inter- modulation between the frequency bands at the crossover point, achieving significantly smoother, cleaner crossover performance in the critical midrange. And the fact that the crossover is a line-level electronic design compl

22、etely eliminates the loss, distortion, and sometimes severe inter- modulation that are almost unavoidable in conventional passive crossover networks driven by a single power amplifier. Near-perfect Evolution More than 30 years experience in the design and production of top-performance speaker system

23、s has won Yamaha an enviable position in the recording field: respected professionals depend on Yamaha to help them achieve award-winning sound. The venerable NS10M STUDIO monitor speaker is an excellent example: from its introduction in the 80s through to its recent discontinuation (due to unavaila

24、bility of the necessary pure virgin pulp for its distinctive white woofer cone), the NS10M STUDIO was the definitive near-field speaker monitor in an overwhelming majority of professional studios throughout the world. But times change, and technology must evolve. The MSP10 STUDIO is an example of ne

25、ar-perfect evolution. It takes over where its predecessor left off with precision and performance that are perfectly suited to todays production needs. The Yamaha MSP10 STUDIO Powered Monitor is poised to become a cornerstone of the “new age” of audio production, in which advanced digital production

26、 consoles such as the Yamaha DM2000 and 02R96 as well as high-sample-rate digital source material and ultra-accurate reproduction media are rapidly becoming the norm. M S P 1 0 S T U D I O F E A T U R E S M S P 1 0 S T U D I O F E A T U R E S M S P 5 MSP Series Speakers Deliver High Quality Performa

27、nce Biamp. 2-way, bass-reflex Powered Monitor speaker M S P 3 2-way, bass-reflex Powered Monitor speaker S W 1 0 BWS251-300 Rear Panel Powered Subwoofer The Drivers Where Materials and Precision Manufacturing Really Count The MSP10 STUDIO woofer and tweeter units feature some important design innova

28、tions that contribute directly to improved sound quality. The 8-inch woofer, for example, features a mineral- impregnated polypropylene cone with low-damping rubber surrounds for exceptionally smooth response. Low-reflection high- rigidity die-cast magnesium baskets both maximize mechanical precisio

29、n while minimizing unwanted coloration of the speakers output. The 1-inch tweeters feature titanium domes that offer the perfect combination of light weight and rigidity for precise reproduction right up to 40 kHz. The tweeters have an exceptionally powerful 17,000 gauss magnetic circuit that result

30、s in extremely fast response for crisp, natural transients, and are integrated with a waveguide that achieves uniform high-frequency dispersion of 120 degrees. But if theres one thing that sets the MSP10 STUDIO drivers apart from the rest, its not so much what theyre made of as how theyre made: prec

31、ision, micron-tolerance manufacturing. The slightest eccentricity in the alignment of the tweeter domes and waveguides, for example, can seriously affect performance. So can the alignment of the coils and magnetic circuits. These are details that require a considerable investment of energy and resou

32、rces to do properly, and they are exactly the details that make the MSP10 STUDIO the superior studio monitor that it is. Magnetic Shielding That Wont Distort Your Sound In todays production environment, which often includes computer and video displays as well as a range of magnetic media, magnetic s

33、hielding is essential. Conventional magnetic shielding schemes have the unfortunate side effect of distorting the magnetic flux of the speakers critical magnetic circuit. The end result is distorted sound. This was one of the biggest obstacles the MSP10 STUDIO design team had to face, but one they o

34、vercame with a new “advanced magnetic structure” that achieves effective shielding while maintaining the integrity of the speakers magnetic circuit for significantly lower distortion as well as an improved definition. And Dont Forget the Enclosures Yes, the boxes are part of the system too, and dema

35、nd as much attention as the electronics and drivers themselves. The MSP10 STUDIOs bass-reflex enclosure is constructed from high-quality MDF (Medium Density Fiber) and braced to eliminate coloration- causing resonance. Resonance-free operation is further ensured by a painstaking 9-step finishing pro

36、cess that includes no less than 5 layers of piano-finish paint. The result of all this attention to detail is response that is so natural and transparent that you can hear details even in delicate decays and reverb tails. Connectors and Controls The MSP10 STUDIO features a balanced XLR-type connecto

37、r for input. This provides direct compatibility with professional gear and allows the use of balanced lines for maximum audio quality even where long cable runs are required. Rear-panel controls include an input sensitivity control with a 6 dB +4 dB range, and trim switches that enable you to adjust

38、 the bass and treble in three positions. (0 dB, 1,5 dB, 3 dB at 50 Hz and +1,5 dB, 0 dB, 1,5 dB at 10 kHz) allowing the systems response to be quickly matched to the room. Theres also a low cut (80 Hz) switch that is useful when the MSP10 STUDIO is used with the SW10 Subwoofer. For convenient wall m

39、ounting Yamaha offers an optional BWS251-300 Wall Bracket. Normal Magnetic structure Advanced Magnetic structure Steel Yoke Consistent Magnetic field direction Random Magnetic field direction Shielding Magnet magnetized in reverse direction Main Magnet INTERVIEWINTERVIEW Interview Akira Nakamura Chi

40、ef Engineer Speaker Development An Interview With the Man Behind the Sound In order to learn as much as possible about the MSP10 STUDIO and its background, we talked directly to Akira Nakamura, head of the MSP10 STUDIO design team. Nakamura was also the brain behind the legendary NS10M and NS10M STU

41、DIO. Here are some of his comments: Interviewer: What were the first projects you were involved in at Yamaha? Nakamura: It was speakers right from the very beginning, but the first ones I worked on were for musical instruments Yamaha Electone organs, to be specific. We couldnt get the sound we wante

42、d from speakers purchased from other manufacturers, so we started developing and manufacturing our own. Hi-fi speakers werent an issue back then? Not in the beginning. I joined the company and started working on musical instrument speakers in around 1965, but serious development of hi-fi speakers wa

43、snt started until about 1970. What audio speakers did you work on prior to the NS10M? Most of them, but perhaps the most notable was the Yamaha NS1000M. I think we released it in around 1974. The NS1000M became one of the longest-selling hi-fi speakers, ever. As I remember, the NS10M was released se

44、veral years later, in about 1978. Was the NS10M an instant success? In the home-use market, yes. It wasnt until several years later that studios began adopting the NS10M for near field monitoring. This was because it was originally developed for the home market, and was only sold through outlets tar

45、geted at the home market. But once the studio people caught on, we had to expand our retail routes to include the pro-audio market. Why did the NS10M become the industry standard for audio production? At the time, most studios were using small single-unit cube-shaped speakers for near-field monitori

46、ng actually they were probably used mostly to hear how projects might sound on a boom-box or car stereo. But the engineers were looking for a compact monitor with a bit more power and a wider frequency range, as well as something that more accurately represented the home audio sound of the time. The

47、 NS10M was perfect. It also had the midrange definition that the engineers needed for rock and pop production, and eventually became the engineers primary tool for sound creation and mixing, rather than simply a means to hear the results on a less-than-perfect system. It wasnt long before you could

48、walk into just about any major studio and find a pair of NS10Ms sitting on the console meter bridge. This was an advantage for the engineers, because they were familiar with the NS10M sound and could expect the same quality in just about any studio, anywhere in the world. So Yamaha didnt start out t

49、o deliberately create a studio monitor speaker? Not really. We were only interested in achieving the cleanest, most natural reproduction possible. As it turned out, what we were trying to achieve was precisely what the audio production professionals were looking for. The white NS10M woofer cone was quite distinctive, is there a story behind the color? We were in the process of trying out different pulps and papers for use in speaker cones, but nothin