All Things Yaesu
Microphone Connection Basics
Since about 1975, Yaesu HF rigs have been designed with low-impedance (600- ) inputs. Prior to that time, 50-k microphones were utilized. Starting in 1980, many HF rigs used a standard 8-pin round connector, and the wiring of this plug has been consistent through the years. On the FTdx9000 series, a standard 3-pin XLR was incorporated (in addition to an 8-pin jack on the rear panel), allowing direct connection of studio microphones. The pin configurations are shown in the next section.
Note that many HF rigs also include a "PATCH" jack on the rear panel. This is a common RCA jack, wired in a "Y" manner with the Mic input from the front panel. For the do-it-yourselfer, the PATCH jack provides a simple means of connecting a microphone to a Yaesu rig. There usually is also an RCA-type PTT jack on the rear panel.
8-pin Round (FT-1000/2000/dx9000/990/847/736/747/757/767/650/840/920)
Pin 6: PTT
Pin 7: Ground
Pin 8: Microphone In
4-pin Round (FT-7/101/101Z/201/221/223/225R/227R/301/901/902)
Pin 1: Ground
Pin 2: Microphone In
Pin 3: PTT
Pin 4: No Connection (*Ground on FT-221R)
3-pin XLR (FTdx9000 Front Panel)
Pin 1: Ground
Pin 2: Microphone (+)
Pin 3: Microphone (-)
7-pin Round (FT-290/690/790)
Pin 1: Ground
Pin 2: Microphone In
Pin 3: PTT
6-pin Modular (FT-100/90/8100R)
Pin 4: Ground
Pin 5: Microphone In
Pin 6: SW1 (Connect PTT line via series 27-k resistor to this pin)
6-pin Modular (FM Mobiles: FT-1500/1802/2800/7800/8800/8900)
Pin 3: +8V
Pin 4: Ground
Pin 5: Microphone In
Pin 6: PTT
8-pin Modular (FT-450/817/857/897/900)
Pin 2: Ground
Pin 3: PTT
Pin 4: Microphone In
Pin 5: Microphone Ground
Handie-Talkie 4-pin Mini-plug (VX-1/2/3/5/110/150/170)
Tip: Speaker Out
Ring 1: PTT
Ring 2: Microphone In
DSP and Carrier Point Settings
Yaesu has, since the 1980s, provided means for adjusting the carrier insertion point (identical to "IF SHIFT" used on receive, only this is on your transmitted signal). This allows the operator to roll off lows, or roll off highs, to change the articulation or bass response of your voice wave-form.
Beginning with the FT-1000MP, DSP settings were added to many rigs, allowing the bandwidth to be varied, and additionally it was possible to perturb the envelope to do things like peaking both high and low while putting a null in the center of the transmitted passband, etc.
It is impossible for us at Heil Sound to know what settings will sound "best" on your voice, in your station environment, with your microphone, for your interest (DX, Contest work, rag-chewing, or maximum fidelity) The recommendations below are just starting points; listen to yourself in a separate receiver (with its antenna disconnected) to determine what sounds best in your unique situation.
FT-1000MP Series (including Mk-V and Field)
Menu 5-9: 6.0
Menu 7-7: Set "SSB-T" to 300-3100 Hz for DX/Contest, 100-3100 Hz for more fidelity.
Menu 4-4: Set to "OFF" while setting Menu 7-7 to your liking, then try each selection ("1" through "4") while listening in separate receiver to see if any of these improve your voice signal's characteristics. Oftentimes "OFF" is best.
Menu 8-9: Generally, you don't need to touch this one. However, the settings are identical, in principle, to those found in the discussion below for the FT- 920. Try them while listening on a separate receiver.
Speech Processor: Don't be afraid to use it; the audio quality is excellent for most applications.
Because Menu numbers may change over time, the "Title" of the Menu item is used below, to avoid confusion across different production lots.
EQ1: -6 dB at 200 Hz, Bandwidth of 2 (set to -10 dB if using PR 40 and you get Reports of too much bass).
EQ2: -6 dB at 900 Hz, Bandwidth of 2.
EQ3: +6 dB at 2100 Hz, Bandwidth of 2. Set to +10 dB for DX/Contest work.
SSB TX BW: Set to 400-2600 Hz for DX/Contest work, 300-2700 Hz for everyday operation, 100-2900 Hz for more fidelity. Note that power output meter will show "lower" power as bandwidth is increased; this is normal, reflecting lower power density per Hertz of passband.
Menu 42: On (this engages the "Extended" Menu).
Menu 92: +5 to +10 to start, +15 for DX/Contest work.
Menu 93: -5 to -10 to start, -15 for DX/Contest work.
Note: The ideal setting may differ between USB and LSB, depending on other alignments in rig. The LSB settings are "inverted" from USB, so a setting of -10 on LSB and +10 on USB should sound the same.
FT 857 D
Menu 46 DSP High Pass filter Default at 100. Set that to 200 to 300 on the low end
Menu 48 DSP Mic Equalizer
To set up the DSP Microphone Equalizer feature:
- Press and hold in the [DSP] key for one second. This instantly activates Menu Mode No-048 [DSP MIC EQ].
- Rotate the DIAL to select one of the following equalization choices: OFF: Microphone Equalization Off
LPF: High Cut (lower frequencies are emphasized)
HPF: Low Cut (higher frequencies are emphasized)
BOTH: High/Low Cut (mid-range frequencies are emphasized)
- When you have made your selection, press and hold in the [FUNC] key for one second to save the new setting and exit to normal operation.
You also have menus 016 Carrier Balance -300 to +300 LSB Transmit and 017 Carrier Balance -300 to +300 USB Transmit Adjusting these controls will give you more low response or high response. As always listen to your test signal through headphones connected to a second receiver. You will hear the balance that will please you.
As always study the operation guide for further information.
Menu U-59 (TLSB): +100 for DX, +150 for Contest work, -100 for rag- chewing.
Menu U-60 (PROC LSB): +100 for DX, +150 for Contest work, -100 for rag- chewing.
Menu U-62 (T USB): +100 for DX, +150 for Contest work, -100 for rag- chewing.
Menu U-63 (PROC USB): +100 for DX, +150 for Contest work, -100 for rag- chewing.
Menu U-51: Set to OFF initially.
1: Mid- and high-frequency emphasis.
2: High frequency emphasis (DX/Contest setting).
3: Low- and high-frequency emphasis, dip in middle.
4: Wide "broadcast" setting.
The FT-450's Microphone Equalizer Menu item ("MIC EQ") is very simple in its adjustment. Basically, there are three ranges (low, Mid, and High) for equalization; you can roll off any one of these, peak any one of these, or peak one and roll off another.
For DX and Contest work, use selection 9 (this rolls off lows and peaks highs). To roll off excessive bass in a microphone like the PR 40, use selection 1 (this rolls off lows while leaving mid-range and highs flat). To increase high-frequency articulation, without rolling off lows or mid-range, use selection 4.
See page 81 of the Operating Manual for details.
Menu 16 (MIC EQ): Set to OFF initially. Selection "2" emphasis high frequencies, while "3" cuts both low and high frequencies, emphasizing mid-range.
Menu 25 (MIC GAIN): 85
Menu 27 (Compression) 80
Menu 64 (T LSB CAR): Set to -100 Hz for rag-chewing, _150 Hz for DX/contest work.
Menu 65 (T USB CAR): Set to -100 Hz for rag-chewing, _150 Hz for DX/contest work.
|FTdx-5000||Menu # 1 04 (A3J TX BPF)||300-2700 or 200-2800 Hz|
|Menu #151 (EQ1 FRQ)||200|
|Menu #152 (EQI L VL)||-12|
|Menu #153 (EQ1 BW)||2|
|Menu # 154 (EQ2 FRQ)||900|
|Menu #155 (EQ2 LVL)||-6|
|Menu # 156 (EQ2 BW)||2|
|Men~ #157 (EQ3 FRQ)||2100|
|Menu #158 (EQ3 LVL)||+10|
|Menu # 159 (EQ3 BW)||2|
|Menu # 160 (PEl FRQ)||200|
|Menu #161 (PEl LVL)||-12|
|Menu #162 (PEl BW)||2|
|Menu # 163 (PE2 FRQ)||900|
|Menu #164 (PE2 LVL)||-6|
|Menu # 165 (PE2 BW)||2|
|Menu #166 (PE3 FRQ)||2100|
|Menu #167 (PE3 LVL)||+10|
|Menu # 168 (PE3 BW)||2|
PEP version, menu numbers
differ on earlier versions
|Menu #078 (SSB-TX-BPF)||300-2700 or 200-2800 Hz|
|Menu #080 (LSB TX Car.)||+100Hz|
|Menu #082 (USB TX Car.)||+100Hz|
|Menu #146 (F-EQI-FREQ)||200|
|Menu #147 (F-EQ1-LEVEL)||-12|
|Menu # 148 (F -EQ 1-BWTH)||2|
|Menu #149 (F-EQ2-FREQ)||900|
|Menu #150 (F-EQ2-LEVEL)||-6|
|Menu #151 (F-EQ2-BWTH)||2|
|Menu# 152 (F-EQ3-FREQ)||2100|
|Menu #153 (F-EQ3-LEVEL)||+10|
|Menu #154 F-EQ3-BWTH)||2|
|Menu #155-163 are same|
functions for Rear Panel Mic
Jack, and Menu #164-172
are same functions for
"Speech Processor On "
setup. Use identical
parameter settings as shown
in column 3 for Menu # 146-
Yaesu Parametric EQ
Bob Heil, K9EID
INITIAL SETTING OF THE FT 950 and HEIL PR microphone
First, you need to set the transmit bandwidth. I would try 200 - 2800 first. This will roll off some of the extreme low frequency response. You may be able to adjust to 100 as long as it doesn't overload and sound too bassy.
Press the Menu and rotate the SELECT knob so it reads "TX BPF" (Transmit Band Pass Filter). Turn the Clarify/VFO knob to set this bandwidth of 2-28 (200-2800). ALWAYS remember to hold the MENU button for about 3 seconds to save any of these needed items.
Now we move onto the Parametric. You can follow this on Page 61 of the FT 950 manual. A Parametric EQ is just as the term implies. You can adjust the parameters of the microphone audio. You do not need 8, 10 15, or for heavens sake a 31 band EQ when we are only dealing with a 3,000 Hz wide signal ! A Parametric EQ usually has only 3 filters. If you have more that three frequencies which need 'attention' you have more problems than an equalizer is going to fix! Wrong microphone, not addressing (speaking into) the microphone correctly, too far away from the microphone, too much room echo and a host of other situations. You can adjust the frequency, the bandwidth and tell those parameters to either notch (-) or boost (+).
The first thing to set is the frequency that you need to affect. There will be three important frequencies to attend to. Low end, Mid Range and Highs. For SSB you will want to 'massage' that low end. For most, roll off the low end by setting the first filter at 200 Hz. You then will tell the filter to roll that off or notch that 200 Hz. You want some big boomy low end? Boost it with that adjustment. The second adjustment is the Bandwidth which is set in the traditional audio nomenclature of octaves. In the amateur radio field we aren't dealing with music material but the adjustment affects voice the same way. If you set this first filter frequency to 200Hz. and have the parametric 'Bandwidth' control set to a wider setting (say 10), the filter will encompass the audio frequencies from about 100 Hz to 400 Hz. If you set the Bandwidth control of the Parametric to 1 or 2, the notch or boost you have set will only affect about 150 to 250 Hz. If affects just a small 'slice' of the audio if the bandwidth is set to a narrow number or setting. You would want to start by keeping that bandwidth to the half way point. The third control of the filter is either - or +. Notch or Boost. If you want to cut some low end, you notch -20 dB at 100 Hz. You want to boost that frequency, you adjust it to + 10dB. We have explained one filter. There are three and that is all you will need to make your transmitter sound terrific. You simply select the needed frequency, boost or notch that frequency and set the bandwidth as to how wide you need to affect. You can listen through headphones through the monitor but I have always found it better to listen through headphones through a second receiver while transmitting into a dummy load. You then know exactly how you sound to the outside world.
Let's get started !
Press the (PROC) button momentarily so MIC EQ shows up in the display. This HAS to be shown as it turns the parametric EQ on.
There are three audio filters that you can change their PARAMETERS (thus 'Parametric' EQ) . You set the frequency of the filter. You then set the Bandwidth of that filter and finally you tell the filter if is notches (cuts, reduces) or boosts that filter frequency.
Using the Heil Sound wide frequency range microphones such as the PR 781, PR 30 or PR 40 you will want to roll off the low end as the pre amp of the 950 does not handle a lot of bass response. You will perhaps want to change the frequencies of the first two filters if you are using an HC 4 or HC 5 element which is much narrower in response than the above microphones but start hear and see how this affects your transmitted signal. Again YOU have to make the final decision by listening to your own signal. Now one else can make the adjustments. You.
|Set filter one to 200 Hz.||Menu 091||Frequency|
|CUT that filter -15 dB||Menu 092||Notch or Boost|
|Bandwidth of 5||Menu 093||Bandwidth|
|Second Filter 400 Hz||Menu 094||Frequency|
|CUT -6 dB||Menu 095||Notch or Boost|
|Bandwidth Q 5||Menu 096||Bandwidth|
|Third filter 2400 Hz||Menu 097||Frequency|
|BOOST + 8 dB||Menu 098||Notch or Boost|
|Bandwidth 5||Menu 099||Bandwidth|
NOW - DO NOT FORGET TO SAVE these by holding the menu button for 3 seconds. If you don't do that, all of these settings go back to zero. Save your settings each time.
Now, I am not telling you that this is the end all. Since I can't actually HEAR your transmitted signal, these are just starting points. We have notched some low end out by setting the transmit bandwidth in the beginning then with the EQ, we reduced some low end (menu 091) and this is always a major problem. Sometimes, you will have too much low end audio from the microphone that actually overloads the mic pre amp and 'sounds' like RF but it may not be. It is clipping the mic pre amp.
The first low frequency filter removes all of that low end bass that destroys so many signals. They have lots of bass, no mids, no articulate highs so they end up sounding like mush. The mid frequency is very important. There is usually some craziness that happens around 400 Hz. That is usually notched a bit but there are voices that need some energy around 1000Hz attended to and your just have to make that decision by listening and select the mid range parameters. The all important issue is the third filter where you achieve speech articulation. SO SO important and this + 8 dB boost at 2400 – 3000 HZ is the good starting point for that.
Yaesu has recently had several reports that the 950 is VERY sensitive to RF. No apparent reason but it is true. Many calls a day come through the Heil Sound facility with RF issues. We have recently come up with the perfect 'fix' for that. Use one of our PR series professional balanced output microphones with the 3 pin XLR. All of the new Yaesu series 9000, 5000,2000 and the FT 950 have a balanced audio input on the audio board but they do not use it. They unbalance that 8 pin round mic connector input with their typical Pin 8, pin 7 connections. Sad. Our new cable CC-1 XLR-BAL (with an ORANGE, not traditional Yellow boot) connects our balanced output microphone into the balanced input and has solved 100% of the RF issue for so many FT 950 as well as other new model Yaesu users.
Don't give up on this incredible piece of technology. Once you learn how to adjust and use a parametric equalizer you will never go on the air without properly adjusting. 1/2011
For best results please consult your manual.