All user reviews for the Yamaha Stagepas 300

I got a shop in Pigalle PA BMD bluff me when the size and given the same report in the bass that is the only vendor has been careful to tell me about the "24-bit reverb numrique" I did not even try to store pens as andouille for what I am surprised when I got home, I tried the'm saying rverb . it is a TOTAL SCAM "to talk about rverb aa 24 bit while the sound chambers cho 70s. rptions so they are" echo "and under no circumstance rverberation.
I do not understand their philosophy Yamaha whereas with a true rverb, even low-end, it would have t gnial but the worst is that there is no insert impossible to connect an external rverb so I bought a small mixer with built-in effects (not Yamaha) that I plug it. it works is a little more than emcombrant prvu dpart and more expensive to the arrival. It is you to see but I think even when limited!

I bought it for my repeat after having loved the demo I made that one.

I also use it in turn to host my wedding, one on each side of my synths, the output of my 01V96 and rendering is excellent. I have consumed have their bowels open, loving the bass is a good size and bears the inscription yamaha china and treble seems to be a sort of eminence that gives beautiful APT50 acute not aggressive at all, the filter is mounted , with oversized components glued and condos.

I regret parconte quality plastic farted when I hit a corner stalls and the poor quality of the reverb itself, however, "digital" but which looks like an echo of an analog of the 70 rooms.

Otherwise not much value for money. Good for rehearsals and small return but for concert sound, one can forget, lack of power.

I put 8

It's been over six months that I use the PA system stagepass 300.
I think the midrange is Randu asser good, for lack of energy cons ca when to render sharp, when the low, the columns cut when I put the rubber (but hey you still go there) I am therefore obliged and then to the étindrent ralumées ...
I had problems with feedback at the start (I can be of a microphone), the reverbs are a aubeine to an intro like "Monk" ... But the song is indeed a pluto "cave" a real reverb.
Finally good to the bad black metal garage it can still pass for "his" ""...
I strongly advice to buy the feet or the height mettrent otherwise it will be hard to make you entendrent in a metal band or HxC

For a more traditional song and music is a hard device moin ... sufficient as we do not need "real" reverb let's say ...

My overall impression: Nah, I is still three points because it's compact and lightweight and I'm nice.
And two points because my opinion is for groups or HxC Metal, so I will too décendrent general view ...

PS: Anéctdote: I live in Switzerland and I buy a c ** without looking inside, the food was French ... It is therefore impossible, to connect ...

Conclusion: I highly recommend a model with 50-150watt more for metal bands or HxC, if not a bar you can count on view fiabilitée is legit, Yamaha still ^ ^.

I have used the pack for two months a group of festive music and a folk band, we usually play in concert halls Coffee 100 people, so we do not want a big sound, but to grow to be a slightly above the volume produced by the public (hear the instruments and voices)

We could not afford to buy the pack HK (1500) or pack AER (3000) for the same use. We are very happy for what you make: that is, connect a guitar and an accordion, two microphones vocals, other instruments (sax and percussion) are purely acoustic

the sound quality is good, power is enough for 100 people

Cons: The reverberation is unusable, except to seek an effective techno background cave, no, no, no, no, no ....

if you need to connect more than one instrument is rented eight-track mixing console that plugs into the pack

the pack is easy to carry, easy to install, we are very happy.

Please note: for those of condenser microphones (violin) you are obliged to provide a pre-amp before you plug it into the table, because there is no function "phantom"
With the experience I do not regret that choice, at the sight of the quality / price / use

- I use it for 1 year
- The +: Clarity of sound! / Ultra compact / lightweight (except the mixing desk is normal) / 8 entries! / Safety in case of over-consumption! / Ventilation

- The -: lack of power rock band open-air concert in the street (music festival), a bass, a guitar (clean and distortion), 2 micro chant, a CD player (drum machine) ALL the above connected -> security has triggered two times (the sound system will turn off by itself), we easily exceeded the power ...

- No I have not had the opportunity to test other sound
- Value / Price: Very Good

- Yes, I would do this choice, but I leave it entirely to the song (see song + acoustic guitar / jazz / clean, or other "small instrument"), in May would add a real bass amp and guitar separate small ROCK concerts outdoors. Except to repeat in a small room, it is EXCELLENT! even for bass, guitar, keyboard, etc ... !

- How long have you use it?
I use it for 2 months, for rehearsals
I plug in two microphones and a synthetic time

- What is so special that you like most and least?
The +: easy transportation (I bought the bag on wheels that goes with it)
the -: the reverb but I use it too

- Have you tried many other models before buying it?
not

- How would you rate the quality / price?
good enough especially when we take the bundle of thomann

- With experience, you do again this choice? ...
I think yes

I put 8 because it is a good sound but the reverb is zero and that the true power is by the appointment, but enough for rehearsals

EDIT: a bar of a drop bag on wheels: The plastic handle is torn when I shot. For € 100, the bag is really poor, especially the sliders

Here I can from a 1 month and I am satisfied with TRS I am a young 17 years old who wanted a small sound system has a price in my way as I am in court again, the sound are of very good qualityamaha) may be a little lack of bass on the sound if I go on the top are really really clean trs there nothing to say for the price of the finish also hides her own trs. for the storage place are sufficient to add 2cable and j have a pocket for the tip and there is room inconvnient the only season that the speaker cable does not sews her and saw that the input jack on the the table folds and mixes only tt I trs maniac and I can not find it so much am bending here are the two cable can cost has prs 40th 50th for good quality really veiled advised I j'coute hardcore, jumpstyle, hardtek so veiled advised

How long have you use it?
I use it for about three years to make the sound event for children mainly.

Have you tried many other models before acqurir?
I lou several different hardware until my dealer to buy what I convinque stagpass

What is the particular feature you like best and least?
The ease and speed of implementation and Storage: this is perfect for not wasting time to unpack and install and set up and ...
I would have to put some more money to take the 500 because from time to time (outside) it is a little weak. The reverb. is zero.


How do you report qualitprix?
Exprience with, you will do again this choice? ...
I find this perfect set and remake my choice without a doubt (except power).

The Yamaha Stage Pass 300 is a very usable, portable, small and complete PA system, best used for vocals-only solo or group acts needing no more than four dynamic microphones. Venues it is best used include small coffee houses, house concerts, smaller houses of worship, and outdoor events where attendance is less than 75 to 100 people, or up to about 200 people if using the Stage Pass 300 for mostly spoken voice.

The Stage Pass 300's best attributes are it's portability (when used with the optional carry case clean sound, and easy to use controls. It's 40 pound weight (carry case and accessories not included) make it light enough to be carried, if with some difficulty, by most reasonably healthy people, although one is a bit off-balance with the Stage Pass 300 on one shoulder and nothing on the other, and balancing it with another 40-pound load on the other shoulder would be too heavy for most folks to carry any distance at all. Yamaha has done what it can, for the most part, to keep the unit's weight manageable, using poly-carbonate (reinforced plastic) cabinetry for both speakers and the PA mixer/amp unit. It appears not much more could be done to further lighten the basic "three boxes."

Even when pushed to it's maximum output (main output and mic gain turned to full or max the Stage Pass 300 produces a (presumably) clean 300 watts. The 10% THD reported in Yammie's specs is not objectionable, so if you need to push it to it's max, you will not be punished by horrible distortion. The power amp and speakers seem to be well-matched (as you would expect, from a 3-box PA, and from Yamaha I have not heard speaker-destroying amplifier clipping, or self-destroying speaker distortion, even when the controls were turned to full.

Tapco established the standard for non-expert mixer controls more than 30 years ago, doing away with both mic gain and input-channel slider in favor of a single "output" or "volume" knob, and Yamaha wisely follows that lead with the Stage Pass 300. Each input channel features a mic and line input, a switch to toggle between the two (but no LED to let you know which is chosen, and the push-on/push-off button lacks enough throw to give the operator adequate visual reference, a two-band EQ with up to 15dB of cut or boost for "treble" and "bass," a push-button to turn "reverb" on and off for each channel, and a level control marked for "unity" gain- marked with a hash mark, but not identified as "unity. A pro sound man would know what this is, but most amateurs who are the Stage Pass 300's core user might not. The EQ controls have a center detent, but the level control lacks this feature. Pity. Four of the input channels have XLR mic inputs (and thus, pre-amps the last two are stereo but lack XLR inputs. Input channel five has both TS and RCA inputs, channel six has RCA only. I dislike that cost-saving option- I like for EVERY channel to have mic capability, but that's must me- the TS/RCA inputs are actually often a plus for it's intended use- solo or small-ensemble acts can easily plug in a CD or MP3 player or a backing-track into either of these channels. Yamaha suggest channel five could be used for a keyboard, but the 10-inch speakers may not be able to handle the lower frequencies of an 88-key keyboard, so be careful. The output side of the mixer/amp is also noob-friendly, with only monitor out, reverb (global and Master Level knobs and a speech/music push button. Both main and monitor output jacks are 1/4" TS, and it is easy to plug in a cable to the wrong out, but at least there is a visual difference- the main speaker outs are black plastic, the monitors are chrome metal. Actually, it should have been the other way 'round- the mains will get much more use, and plastic jacks are much more easily damaged by force put on the plugs. RCA jacks are provided for Tape out, and a single LED level meter is included, too- although it is of questionable use, as the Stage Pass 300 includes an output limiter- I have never been able to make this thing distort, even when the top-most red LED was lit often. The UPC AC input is on the face of the mixer, which seems odd until you want to mount the mixer/amp in the back of either speaker cab- a very cool feature, as you have more portability (only two boxes to carry and setup and less room used. If the AC input were on the back or side, such mounting would be impossible. Both speakers have the same cavity (they are the same speaker, not L and R mirror images of each other so the mixer'/amp can be mounted in either; a filler plate fits in the other one to make for a small storage area for the user manual and perhaps a couple of microphones.

The speakers are well-matched, as mentioned, but lack pole-mount cups. Additional-cost pole mounts must be bought and installed to the bottom; these are ugly, lack any adjustability, and take up room in the canvas carrying case that could be better used for cables and such. They are not cheap, either. This could have been done much better.

All those features make the Stage Pass 300 easy to use and it turns out good sound. It begins to fall down on the job when you ask too much of it. Although the 5th channel's TS inputs can be used to slave a bigger mixer board to the SP3C, the user will want to limit these added mic inputs to about two- beyond that and things get muddy, fast, regardless of the room (or lack of a room, if used outdoors.) This cute little thing can only handle so much. The system has a strang 6-ohm operating impedance, you could probably use a pair of 8-ohm speakers (say, if you wanted 12-inch woofers for more bass but Yamaha would not comment on this, and you should NOT daisy-chain speakers- the resulting speaker load would be below the Yamaha-recommended 6-ohm load. This wierd 6-ohm load also means that if you blow a driver, you must replace it with one bought from Yamaha, which will no doubt make for a VERY expensive day (see below.) You can easily expand the output of the system by using the monitor outs and a power amp/speaker combo, or powered speakers.

We've used the Stage Pass 300 for about 4 years, for Sunday morning services- a diminutive, soft-voiced interim minister could not be heard without, and the congregation has become dependent on it, even though the called minister has much better projection and can do fine without it. We's also used it for a number of rock, jazz or pops combo concerts, in the same 100-person space, and on occasion outside for the same kind of groups' picnic concerts. It has performed well, when not asked to do too much- too may added mics overwhelm it, and it does poorly when asked to reinforce instruments already amplified, like electric guitars. Yamaha put "only" four mic inputs on it for a reason- respect that limitation and you will be fine. The SP3C does not feed back badly or too easily- good thing, with it's basic-as-it-gets EQ. Just keep the speakers in FRONT of the mics, and you should be okay.

If there is one fly in the ointment, here, it would certainly be the cost of service parts. This one developed a noisy, inefficient cooling fan (there are two in the unit and a replacement from Yamaha was almost $70, plus shipping. I found an exact duplicate, only lacking the plug (I spliced the plug from the original fan) for $12, locally. I don't EVEN want to know what one of those 6-ohm (and thus probably proprietary) drivers or horns would cost.

Small, thoughtful features like the mic-stand mount (also optional) and ability to mount the mixer/amp in the back of either speaker make this a versatile little PA, much more so than the basic 3-box PA's often seen. Whether it is worth the extra $200 or so it costs is a question the user will have to answer for him or her self.

We rarely move our ST3C very far, so if I were making the original buying decision (or had it to do over I probably would have bought a not-so-portable PA that has more inputs, power, and features, but this one has served us well. I prefer it's design over the "clamshell" type portable PA's from Peavey, Fender and others- If you need or appreciate the portability, it is a good bet.