YAMAHA AUTHORIZED PRODUCT MANUAL P-2200/2201 SYSTEM AMPLIFIER
P-2200/2201 OPERATING MANUAL
ABOUT THIS MANUAL SCOPE The P-2200 is a system oriented amplifier, made to be used in conjunction with mixers, consoles, frequency dividing networks and speakers — those made by Yamaha or by other manufacturers. Like any power amplifier, the P-2200's performance depends on system design and installation, in addition to its own capabilities.
THE P-2200/2201 BRIEF OPERATING INSTRUCTIONS INTRODUCTION GENERAL SPECIFICATIONS SECTION ONE SECTION TWO SECTION THREE PERFORMANCE GRAPHS & A DISCUSSION OF SPECIFICATIONS THE DISTINCTION BETWEEN PROFESSIONAL AND HI-FI EQUIPMENT IMPEDANCE OPERATING LEVELS DYNAMIC RANGE GAIN OVERLAP AND HEADROOM INPUT SENSITIVITY RATINGS PROFESSIONAL EQUIPMENT ADVANTAGES INSTALLATION AND DETAILED OPERATION PHYSICAL MOUNTING CABLING AND IMPEDANCE MATCHING ACTIONS OF THE P-2200 PROTECTION CIRCUITS GROUNDING AND SHIELDING AC:
THE P-2200/2201 BRIEF OPERATING INSTRUCTIONS Fig. 1A - P-2200 Front Panel Fig. 1B - P2201 Front Panel A. Input Attenuators Calibrated, stepped input attenuators lower input signal levels ahead of amplification stages. B. Peak Reading Meters (P-2200 only) Meters display instantaneous (peak) power output into an 8-ohm load over a full 50dB range; "0dB" = 100 Watts into 8 ohms. C. Thermal Warning Indicator Warns of overheating before thermal protection circuit turns off the AC power. D.
Fig. 2A - P-2200 Rear Panel* Fig. 2B - P2201 Rear Panel* A. Input Connectors The two XLR input connectors on each channel are unbalanced and are wired in parallel with each other and with the two phone jacks (tip/sleeve type). B. Input Polarity Switch Determines the polarity of the two XLR input connectors (Pin 2 or Pin 3 "hot"); does not affect the two phone jacks. See diagram on the rear panel. NOTES: 1. Input impedance is 25k-ohms minimum; +4dB (1.23V) produces 230 watts output into 8 ohms (44.7V). 2.
INTRODUCTION The P-2200 is not just "another big amplifier;" it is an exciting new approach to high power sound. Yamaha's leadership is clearly demonstrated by the P-2200's professional features, sophisticated design, and uncompromising performance. PEAK READING METERS* Instead of the more common and slow responding VU meters, the P-2200 has PEAK READING METERS that accurately display a full five decades (50dB) of output level.
GENERAL SPECIFICATIONS Phase Shift: (Refer to Figure 1 1 . ) 20Hz to 20kHz, ±1 0 degrees. Offset Voltage: Less than ±10mV DC. Unit Step Function Response: (Refer to Figure 27.) See scope photo (Page FOUR 4) and discussion, Page FOUR 6. Power Output Per Channel: (Refer to Figure 3. Ambient room temperature for tests: 25-degrees Centigrade.) 200 Watts continuous average sine wave power into 8 ohms with less than 0.05% THD, (Total Harmonic Distortion), over a bandwidth of 20Hz to 20kHz, both channels driven.
Controls: 22-position, log-linear, detented, and dB-calibrated INPUT ATTENUATORS (one per channel) attenuate input signal in 2dB steps from 0dB attenuation to -34dB, then steps of -37dB, -42dB, -50dB, infinity; Power (ON-OFF) switch; INPUT POLARITY switches. MONAURAL MODE SPECIFICATIONS Fuses: AGC (3AG) type, 7-amps x 2 parallel fuses for the AC line input (U.S. and Canadian models). 4-amps x 2 parallel fuses for the AC line input (other territories' models).
PERFORMANCE GRAPHS & A DISCUSSION OF SPECIFICATIONS NOTE: In the discussion beginning on Page FOUR 5, references to specific specifications assume normal stereo operation (not mono operation) unless otherwise indicated. Normal (Stereo) Graphs Fig. 3 - Power Bandwidth vs Load Impedance Fig. 4 - Load Impedance vs Output Power Fig. 5 - Frequency Response vs Load Fig. 6A - T.H.D. vs Output Power at 8 (both channels driven) Load Impedance Fig.
Fig. 9 - Actual Output Impedance vs Frequency Fig. 1 1 - Phase Response vs Frequency Fig. 10 - Crosstalk (Channel Separation) Fig. 1 2 - Power Consumption Fig.
Mono Mode Graphs Fig. 14 - Power Bandwidth vs Frequency (Mono Mode) at 16 Load Impedance Fig. 16 - Frequency Response (Mono Mode) at 16 Impedance Load Fig. 1 8 - T.H.D. vs Frequency (Mono Mode) at 16 Impedance Load Fig. 15 - Load Impedance vs Output Power (Mono Mode) at 0.1% T.H.D., 1kHz Fig. 1 7 - T.H.D. vs Power Output (Mono Mode) at 16 Load Impedance 16 Fig. 19 - Damping Factor vs Frequency (Mono Mode) at Load Impedance Fig.
The following are actual oscilloscope photographs made by an independent testing laboratory. The close vertical alignment of input and output traces in Fig. 21 through 23 depicts very low phase shift, so the amplifier will not alter musical wave shapes. Fig. 24 - 1,000Hz Sine Wave, shown with HighlyMagnified Noise and Distortion Components Even at full 230 watt output (8-ohms), the P-2200's distortion is so low that it is almost burried in the noise, which is at least 110dB below the sine wave output.
POWER OUTPUT Types of Power Ratings Peak power refers to the maximum undistorted power output of an amplifier. Most amplifiers cannot sustain their peak power ratings for long periods of time without external cooling fans. Because there are many different methods of rating an amplifier's peak power, it is hard to objectively compare the peak power ratings of two amplifiers.
Intermodulation Distortion, or I.M. is characterized by the appearance in the output waveform of frequencies that are equal to sums and differences of integral multiples of two or more of the frequencies present in the input signal.
HUM AND NOISE Hum or noise from a power amplifier disrupts a program, and is irritating to a listener. Hum and noise could be considered a form of distortion. The P-2200's hum and noise are so low that they are completely inaudible under any normal listening circumstances. RISE TIME Rise time is a measurement of the amount of time an amplifier requires to respond to a square wave at a specified frequency. The rise time of an amplifier is an indication of its frequency response.
During the "overshoot" movement, the voice coil of the loudspeaker interacts with the loudspeaker's magnetic assembly to produce a voltage called "back E.M.F." (electro-motive force). This action is similar to the operation of a dynamic microphone. If the amplifier's output impedance is low, this "back E.M.F." voltage is shunted through the amplifier's output circuits to ground, and back to the voice coil.
THE DISTINCTION BETWEEN PROFESSIONAL AND HI-FI EQUIPMENT In most applications, a variety of auxiliary equipment will be connected to the P-2200, including: mixers, tape machines, compressors, graphic equalizers, echo, time delay, and reverb units, and just about any other audio electronics imaginable. Regardless of the function of auxiliary equipment, it will undoubtedly fall into one of two general categories, professional type or hi-fi type.
Cables from high impedance sources (5000 ohms and up), should not be any longer than 25', even if low capacitance cable is used; shorten the cables if the impedance is higher. For low impedance sources of 600 ohms or less, cable lengths to 100' are relatively effective. For very low impedance sources of 50-ohms or less, cable lengths of up to 1000 feet are possible with minimal loss.
NOTE: The P-2200 actually has a maximum signal to noise ratio of 110dB (which is its dynamic range!. The SYSTEM'S Dynamic Range is limited by acoustic noise at the mic input, for the system shown, and by the maximum signal to noise ratio of the PM-700 Mixer (93dB), a very respectable figure for a high gain device. Fig.
The P-2200 is designed for these wide dynamic range applications. It has exceptionally low noise figures, and high headroom capabilities (high power output). In addition, its operating levels and impedances correspond with professional requirements. GAIN OVERLAP AND HEADROOM Yamaha PM-Mixers have +24dB (12.3 volts) maximum output levels. This high output level is advantageous in many situations. One reason is that it assures adequate headroom for driving the input of any professional device.
INSTALLATION AND DETAILED OPERATION PHYSICAL MOUNTING Shelf Mounting The P-2200 can be used on any surface, so long as there is adequate ventilation. Do not remove the P-2200's feet, since this would prevent air flow below the amplifier. Permanent Installation Rack Mounting Mount the P-2200 in any standard 19" electronic equipment rack as shown to the right. Leave adequate space between the P-2200 and other devices in the rack for ventilation, and for expected cabling.
Regarding Input Impedance and Terminations There is sometimes a misunderstanding regarding the nature of matching or bridging inputs, the use of terminating resistors, and the relationship between actual input impedance and nominal source impedance. Most electronic outputs work well when "terminated" by an input (connected to an input) having the same or a higher actual impedance. Outputs are usually overloaded when terminated by an impedance that is lower than the source impedance.
Transformers Audio transformers (as distinguished from power supply transformers, RF transformers or other transformers) are primarily used for ground isolation, impedance matching and level matching. The following paragraphs detail several applications of audio transformers at low signal levels. Speaker-level transformers are discussed on Page SEVEN 6; the Appendix gives further details on transformer operation.
has a stereo phone jack input, but if the input source is monaural, the transformer lead to the ring of the T.R.S. input jack may be moved to the jack's tip so that a standard T.S. phone plug input will feed both transformers. Alternately, the box may be built with separate T.S. phone jack inputs, or with XLR inputs. Two standard (2-wire) phone jacks outputs are provided for connection to the "left" and "right" inputs of the P-2200. Construct two cables from dual conductor, shielded cable and T.S.
bridging transformer box should be used. While matching or step up transformers like those just described would maintain a balanced feed, several such boxes could overload the source device. By using a transformer which has a high impedance primary and a high impedance secondary, the source can feed several P-2200 inputs without being overloaded.
approximately -50dB (2.45mV) for a microphone, +4dB (1.23 volts) for a line level signal. The exact voltage is not critical, and 1000Hz is a standard reference frequency, but any other appropriate frequency can be used. 2. Set the input channel level control on the mixer at its rated "nominal" setting, and adjust the master level control so that the output level is 20dB below the rated maximum output level for the mixer.
use, a cable with rubberized insulation and braided shield (such as Belden #8413 or #8412) will handle easily and survive road abuse; for permanent wiring, a vinyl insulated cable with a foil shield (such as Belden #8451) is easier to strip for terminations, and it pulls through conduits with less drag. Fig. 47 - "Chaining" of Inputs For unbalanced, signal level cables, use low capacitance shielded cable with a good quality (high percentage density) shield.
The preparation of complete cables, with connectors properly installed, is the key to reliable and trouble-free operation of any sound system. For this reason, the following illustrations are included. Experienced audio technicians may wish to review these illustrations, even if they already know how to wire connectors. A few moments of extra care here can save hours of troubleshooting later on. As a rule, the amount of insulation removed and the length of exposed cable should be minimized.
WIRING A MALE XLR CONNECTOR Pans identification (as the connector is usually packaged). Insert strain relief in rear of shell. Then slip shell onto cable end, followed by insulating collar. Strip outer insulation 1/2". (No. 8412 cable illustrated here.) Cut tracer cord, unbraid shield, cut cotton strain relief cords. Strip approximately 1/4" of insulation from center conductors, tin, and trim to approximately 1/8" exposed wire.
WIRING A FEMALE XLR CONNECTOR Parts identification (as the connector is usually packaged). Insert strain relief in rear of shell. Then slip shell onto cable end, followed by insulating collar. Strip outer insulation approximately 9/16". (No. 8451 cable illustrated here) Pull off foil wrap. Strip approximately 5/16" of insulation from the center conductors, leaving approximately 1/4" of insulation between the bare wire and the outer insulation.
WIRING A STANDARD PHONE PLUG (2-conductor) Parts identification. Slide shell, then insulating collar over cable end. Strip outer insulation for length equal to length of sleeve connection. Unwrap or unbraid shield, twist to form lead. Position outer insulation just ahead of cable clamp, strip center conductor from point just behind tip connection. Tin center conductor and shield. Bend shield as illustrated, solder to outer surface of sleeve connection. (Cool immediately with pliers.
Use of the Input Polarity Switch on the P-2200 The XLR input connectors on the P-2200 are unbalanced. In one position, the switch beside the connectors attaches pin 2 to pin 1 (ground) leaving pin 3 "hot" (USA standard). In the other position, the switch attaches pin 3 to pin 1 (ground) leaving pin 2 "hot" (DIN/JIS standard). If the source feeding the P-2200's input is unbalanced, the switch must be properly set to avoid shorting out the source.
if higher quality transformers were used. Thus, "economy" transformers, may actually cost more in the long run than higher quality professional types. For an existing system with lower quality 70-volt transformers, a capacitor in series with the output of the P-2200 can limit the current at low frequencies (see Page SEVEN 6), and thereby avoid the possibility of constant protection circuitry operation on the P-2200, or damage to the 70-volt transformers from excessive output power from the P-2200.
grounding and shielding, and by the use of balanced, twisted pair cables. EMI: EMI (electro-magnetic interference) usually comes from power transformers (either in a sound system, or a building's electrical supply), motors, or cables carrying large amounts of current. EMI usually shows up in a sound system as a hum or buzz. Twisted pair, balanced lines effectively reject most EMI.
Fig. 58 - Avoiding Ground Loops in an Unbalanced System. In any audio system, there are numerous ways by which ground loops can be created. For example, if a microphone feeds two mixers through a splitter device, and the two mixers are AC grounded through their power cables, a ground loop is formed. In this case, it's better to lift the shield leading from the microphone to one of the mixers than to lift the AC ground of one of the mixers.
Fig. 61 - Use of Ground Lift Switch system. This problem is usually most noticeable with sensitive equipment such as the mixer. Lifting the AC ground at the mixer can often solve this problem. However, lifting the AC ground on the mixer also lifts the AC ground on the microphone chassis, causing a safety hazard. Try connecting the mixer and any other sensitive equipment to other AC circuits.
Fig. 62D - 1 1 0 V AC Outlets with Lifted Neutral. Outlets will operate with voltage varying from 0 to 220V AC creating shock hazard and causing possible equipment damage. 220V AC on 1 1 0 V AC Outlet It is possible (albeit, illegal and dangerous) for a 220V AC circuit to be connected to a 1 1 0 V AC outlet as shown in Figure 62E. Fortunately, this rarely occurs. In an older building, it may have been done to allow 1 1 0 V AC wiring to carry the 220V AC voltage needed to run lighting equipment.
Fig. 63A - Input Splitter Transformer Setup to Operate P-2200 in "Mono" Mode. Fig. 63B - Output Connections for Operating P-2200 in "Mono" Mode. In the "mono" mode, the P-2200 will produce a full 400 watts into a 16-ohm load. The voltage output from the P-2200 in the mono mode is approximately 75 volts RMS, and since it can drive even highly reactive loads with complete stability, it is suitable for driving 70-volt (constant voltage) commercial sound speaker lines.
APPLICATIONS BIAMPLIFICATION AND TRIAMPLIFICATION Biamplification, or "biamping," triamplification, or "triamping," all refer to the use of separate power amplifiers to cover separate portions of the audio spectrum. The traditional, non-biamplified speaker system is diagrammed in Figure 64A. The crossover network, which routes the high and low frequencies to their respective speakers, is located in the circuit between the power amplifier and the speakers.
8-ohm load, it must be rated at 366 watts (power is proportional to voltage squared). Since the P-2200 is only capable of 230 watts, this waveform is clipped, especially the high-frequency component. If the same two waveforms in Figure 65A and Figure 65B were reproduced by two separate amplifiers, the total amplifier power capacity needed would only be 246 watts (the sum of the two powers), not 366 watts. This power could be provided by one P-2200 and one smaller amplifier.
woofer, midrange and tweeter must be the same for most passive, high level crossover systems). If possible, choose the crossover frequency and slope by the criteria described in the previous paragraphs. Also, choose a passive, high level crossover with adequate power handling (for reliability), good quality components (for low loss and low distortion) and with rugged physical construction.
EQUALIZATION, HIGH AND LOW PASS FILTERS Equalization, originally, was the process of "equalizing" the levels of the various audio frequency bands for a "flat" system response. The term now encompasses many different devices and techniques that are used for effects purposes as well as to "smooth" the response of a system. Room Equalization A room, whether it be a recording studio, concert hall, airport lounge, or night club, has a frequency response of its own.
medium. At the same time, the studio monitors or audience foldback system might require graphic equalization to suit very different ends. Professional graphic equalizers are usually more durable than hi-fi type units, and they operate at nominal +4dB (1.23 volts) line levels.
range, the clipping may sound like an irritating sizzle that only happens on certain sounds. Similarly, clipping in the low frequencies can cause bass notes to sound fuzzy or muddy, or it can cause mid-range frequencies to be harsh. Yet because the clipping only takes place on certain sounds, it may not be immediately apparent that clipping is the source of the problem.
frequencies or very high frequencies, such as RF oscillations. Some 70-volt transformers have attached protection capacitors for use with high frequency drivers. "Auto-transformers" (all taps from the same winding) are sometimes used to match speaker impedances. The auto-transformer provides many of the same protections as a 70-volt transformer, with the exception that because the taps are all from the same winding, it is possible for a small amount of DC current to leak through to a loudspeaker.
Concert Sound Figure 73 illustrates the P-2200 in a typical setup for concert reinforcement. Note that there are a number of completely separate feeds, with separate limiters, equalizers, electronic crossovers, and power amplifiers. The P-2200's peak reading meters are a special advantage in concert sound systems. They indicate the amount of headroom left in the system, and help the operator avoid clipping distortion, and possible speaker system damage.
Portable Instrument Amplifier Figure 74 details possible connections for a portable setup for an electric bass. Ideal for this application, the P-2200 can easily reproduce the high power bass notes that may be clipped off by lower power instrument amplifiers. Thus, it will "clean up" a bass sound, and, because clipping is dangerous to speaker systems, the P-2200's high power output may be easier on a speaker system than a low power amplifier.
Discotheque Disco systems, such as the one diagrammed in Figure 75, really test an amplifier's endurance. The music from a record album may be highly compressed so that its average power content is high, and the amplifier may not get even a short rest during many hours of operation each night. With its massive heat sinks, and high average power output capabilities, the P-2200 is an ideal amplifier for disco use.
Commercial Sound Systems Figure 76 diagrams a theatre reinforcement system from the viewpoint of its power amplifier. Note the time delay device that feeds the P-2200 for the underbalcony distributed speakers. This P-2200 is connected for "mono" 70-volt operation; the main P-2200 is connected for biamplified operation. In a smaller theatre, a single P-2200 might cover both areas, feeding speaker systems with passive crossovers. Fig.
The factory paging/background music system in Figure 77 also shows the P-2200 used in "mono" 70-volt mode. One P-2200 feeds the main factory areas with a highly compressed signal. The other P-2200 feeds office areas with a separate, less compressed signal that has been equalized for a more natural sound. This setup also allows selective paging into office or factory areas, or into both areas simultaneously, and it could also allow different programs to be fed to the office and factory areas.
APPENDIX dB SPL expresses an acoustic pressure (not power). The 0dB SPL reference is 0.0002 dynes/square cm, which is the approximate threshold of human hearing at 1kHz. NOTE: Since SPL values in dynes/square cm are uncommon, an example is not given. DEFINITION OF TERMS: dB, dBV, dBm and dB SPL The term dB, which means decibel ( 1 / 1 0 t h of a Bel) expresses a ratio. The dB notation allows us to represent very large ratios with small numbers which are easier to understand and use.
be valid only at a single load impedance, usually 600 or 150 ohms. It's common to rate a mixer's maximum output in dBm referenced to 600-ohms, and to treat this rating as if it were a voltage rating, even though it is actually a power rating. If a mixer's maximum output is rated at "+24dBm," the rating really means "12.3 volts" (the voltage produced by a power level of +24dBm into a 600-ohm load). If you realize that by this rating method, "+24dBm" means "12.3 volts," (and that "+4dBm" actually means "1.
An "Impedance" is some combination (one, two, three or more components connected together in a circuit) of Resistors, Capacitors and Inductors. Fig. 80 - Elements of an Impedance. simple ohmic value, so long as only one frequency is used. However, single frequencies are not representative of audio sources (except for test tones), so this is a good place to make a simplifying assumption: the impedances that we work with in audio can be treated like pure resistances over the entire audio frequency range.
VOLTAGE AND CURRENT DIVISION When two or more impedances are connected in series across a voltage source they share the voltage among themselves according to the following formulas, where N is the number of impedances: (see Figure 82) For two impedances: For any number (N) of impedances: If the ohmic value of all the impedances is the same, they share the voltage equally: When two or more impedances are connected in parallel across a voltage source, they each receive the same voltage, regardless of their
to ground. Electronic balancing, done with "differential" input or output circuits, can replace transformers, with similar results. For example, the output of the P-2200 in the "mono" mode is balanced electronically. Figure 83 shows transformer created balanced, floating, and unbalanced lines. Consider what happens if an RF source (radio station, CB radio, SCR dimmer, etc.) causes a noise current in the wires of a balanced circuit.
NOTES: "N1 " is the number of turns on the primary side of the transformer, " N 2 " is the number of turns on the secondary side of the transformer. "V 1 " is the voltage level on the primary side of the transformer, " V 2 " is the voltage level on the secondary side of the transformer. Fig. 84 - Typical Audio Transformer "I 1 " is the current level on the primary side of the transformer, " I 2 " is the current level on the secondary side of the transformer.
SINCE 1887 YAMAHA
YAMAHA Yamaha Corporation of America P2200/2201 OM 6600 Orangethorpe Avenue, P.O.
