PROFESSIONAL AUDIO MIXING CONSOLE PM4000 OPERATING MANUAL YAMAHA
PM4000 OPERATING MANUAL
IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING : THIS APPARATUS MUST BE EARTHED IMPORTANT.
How to Use This Manual If you are an engineer or technician who is familiar with sound system design, much of this manual will serve as a review for you. The basic features are presented in the “BRIEF OPERATING INSTRUCTIONS” section. Check this and the “SPECIFICATIONS” section, and you will see most of what you need to know. The balance of this manual provides background information for better utilization of the console and auxiliary equipment.
Table of Contents Page Sect. Title Page Sect. Title Section 1. Introduction Section 2. Brief Operating Instructions 2-1 2-1 2-7 2-12 2-17 2-19 2-22 2-25 2-27 2-34 2.1 PM4000 Front Panel Features 2.1.1 The Standard Monaural Input Module 2.1.2 The Stereo Input Module 2.1.3 The Master Module (1 - 8) 2.1.4 The Stereo Master Module 2.1.5 The TB (Talkback) Module 2.1.6 The Monitor Module 2.1.7 The Meter Bridge 2.2 PM4000 Rear Panel Features 2.4 The PW4000 Power Supply 4-15 4.5.
Page Sect. Title Page Sect. Title 6-16 6.15 Stereo Master to Matrix ST Bus: Pre or Post ST Master Fader 6-17 6.16 Installation of Optional Input Transformers 6-18 6.15 Hints on Circuitry For Remote Control of the VCA Masters and Mute Groups Section 7. Operating Notes and Hints 7-1 7-l 7-1 7-1 7.1 7.1.1 7.1.2 7.1.3 Console Gain Structure What Is The Proper Gain Structure? What Affects Gain Structure? Establishing The Correct Input Channel Settings 7-2 7.1.
Section 1 Introduction
Section 1. Introduction The PM4000 is a professional audio mixing console with the kind of flexibility, performance and reliability for which Yamaha has earned a worldwide reputation. It picks up where the famous PM3000 left off, with still more functions, a higher level of performance, and a greater degree of versatility than ever before.
combined signal through a single bus, which is why full-length Group Master Faders are provided on the PM4000. However, when the VCA Master Faders are used, more than one VCA Master can combine to alter the level of a single input channel. What’s more, the VCA Master Fader, because it affects the input channel directly, can also alter that channel’s post-Fader output to any of the eight auxiliary mixing busses, something not possible with the conventional Group Master Faders.
stereo master output. Cue replaces the signal in the headphones and the stereo cue XLR outputs with only those sources whose CUE switches are engaged. The CUE system has input priority so that the operator may normally monitor the cue signal from the stereo bus or the group busses, and can instantly check one or more channel or aux return inputs without having to first release the bus CUE switches.
Section 2 Brief Operating Instruction
Section 2. Brief Operating Instructions 2.1 PM4000 Front Panel Features NOTE: Features are numbered to correspond with the numbers on these module drawings. In the case of the input modules, where the standard monaural module and stereo modules are similar, we have used the same feature number where the features are identical. Where the features are not identical, we have used an “S” suffix.
TOM POWER switch is on. An LED in the switch turns on when phantom power is being applied to the channel input connector. When both the Master and this switch are on, +48 volts is applied to both pins 2 & 3 of the channel input XLR connector for remote powering of condenser microphones.
1 ~ 20 kHz The outer concentric knob sweeps the EQ Frequency between 1,000 and 20,000 Hz. -15 ~ +15 dB The inner concentric knob adjusts the gain of the set frequency band by plus or minus 15 dB. A center detent is provided for unity gain. 10. HIGH-MID Q This rotary control adjusts the Q (the bandwidth) of this section of the equalizer from a very narrow band to a very broad band, with a center detent at a Q of 1.2. 0.4 ~ 8 kHz The outer concentric knob sweeps the EQ Frequency between 400 Hz and 8,000 Hz.
iary mixing bus. When the switch is in the center (OFF) position, no signal is applied to the auxiliary bus. NOTE: In some applications, it is preferable to have the PRE position be Pre-Fader & Post-EQ rather than PreFader & Pre EQ. The PM4000 is equipped with internal switches that make it easy to change the “Pre” of each AUX send in this manner. This functional modification can be performed on a channel-by-channel basis, and for any or all AUX sends within each channel.
mixing buses, and the inner rotary control on the right serves to PAN that signal between the L & R sides of that stereo pair. When the send is set for dual mono mode, the inner rotary control on the left sets the LEVEL applied to the AUX ST L bus (i.e., LEVEL-L), and the inner rotary control on the right sets the LEVEL applied to the AUX ST R bus (i.e., LEVEL-R). 19. AUX ST 2 These two pair of concentric controls and switches function just like AUX ST 1, but affect the #2 auxiliary stereo bus pair.
prevents the channel from being muted. Engaging this switch ensures the channel will always be on so long as the channel ON switch is also engaged. 25. FADER This long-throw fader sets the level applied to the 8 group mixing busses, and the stereo bus. It also affects any auxiliary feeds which are set to postfader position. The Fader does not pass audio, but instead controls a VCA through which the audio signal flows.
2.1.2. The Stereo Input Module The PM4000 comes with at least four stereo input modules, located in near the master section. More of these stereo modules can be ordered in lieu of the monaural input modules. Their position in the mainframe is completely interchangeable with the standard input modules (see Section 6 for details). 1S. 1 2 3 4 5 6 7 8 (ASSIGN switches) These locking switches assign the channel output to group mixing busses 1 through 8.
input is available at odd-numbered busses, and the right input at even numbered busses (and, of course, L&R in are available to the L&R stereo bus). In L position, the right input is deactivated, and the left input connector is available to all group busses and the L&R sides of the stereo bus. Similarly, in R position, the right input is available to the various busses. In L+R position, the left and right inputs are combined to mono, and this mono mix is then available to the various bus outputs.
This indicators measure signal from the XLRs or from the INSERT IN jacks, whichever are active, as well as after the equalizer. If necessary, use the PAD or decrease the GAIN setting to prevent the LEDs from remaining on any longer than momentarily; otherwise excessive distortion and insufficient fader travel will result. With stereo input sources, listen to ensure the stereo balance is correct.
NOTE: PM3000 users will notice there is no EQ CLIP indicator. Clipping at this stage can occur even though the input signal is not clipping, due to boost (gain) applied with the EQ circuitry. In the PM4000, clipping in the equalizer is detected and shown on the PEAK indicators [7S] adjacent to the GAIN controls. 13. EQ (In/Out switch) This locking switch activates the channel EQ or bypasses it completely. The EQ is active when the switch is engaged (and the LED in it is on).
When the send is set for dual mono mode, the inner rotary control on the left sets the LEVEL applied to the AUX ST L bus (i.e., LEVEL-L), and the inner rotary control on the right sets the LEVEL applied to the AUX ST R bus (i.e., LEVEL-R); Again, depending on the input signal selector [2S], these two controls will be assigning either the same mono signal or the discrete left and right input signals to the L & R sides of this stereo aux bus. iary mixing bus.
20S. MT PRE (switch) and L, R (level meters) The channel level meters consist of two rows of 6 LEDs each that display the left and right signal levels from -20 dB u to +6 dBu, plus PEAK (3 dB below clipping). The meters normally indicate the level after the EQ and the channel fader. Engaging the METER PRE switch causes the meters to indicate level before the fader. An LED in the switch is illuminated when the meters are displaying pre-fader level. 21.
2.1.3 The Master Module (1 - 8) These eight modules are identical, except that each controls a differently-numbered set of Group Master, VCA Master and Matrix Output channels. MATRIX SECTION 28. SUB IN This rotary control adjusts the level of the signal from the MTRX SUB IN connector applied to the module’s MTRX OUT. MTRX SUB IN 1 is applied only to MTRX OUT 1, MTRX SUB IN 2 to MTRX OUT 2, and so forth. 29.
33. CUE (Matrix cue) Pressing this switch part-way down causes momentary contact; pressing it further locks it down. When the CUE switch is illuminated, the module’s matrix mix signal (post insert point, pre MTRX MASTER) replaces any other signal in the Cue output and the Phones output unless an input CUE switch is engaged. (Bus cue signals are overriden by input cue.) The MTRX CUE signal is Mono, regardless of how many matrix channels are cue’d. 34.
GROUP SECTION 39. PAN (group to stereo bus) This pan control is operational only when the adjacent GROUP-TO-ST switch is engaged. It then pans the group signal between the left and right sides of the stereo mixing bus. The signal is derived after the group master fader. 40. GROUP-TO-ST Engaging this locking, illuminated switch assigns the group bus output to the stereo bus via the adjacent PAN control.
47. VCA MASTER This fader applies a DC control voltage to any input channels whose correspondingly-numbered VCA group assign switch [22] is engaged. Raising or lowering this fader will raise or lower the output level from those assigned input modules. The end result can be similar to using a Group Master Fader, except that audio is not going through this fader.
2.1.4 The Stereo Master Module This module controls the output of the stereo bus and the two aux stereo busses. Figure 2-4a. PM4000 Stereo Master Module (upper portion of module) AUX 2 STEREO SEND MASTER SECTION 48. BAL/LEVEL R and LEVEL/LEVEL L (rotary controls) This pair of rotary controls’ functions depends on the setting of the BAL/LEVEL switch [49].
52. ON (Aux 1Master On) Engaging this locking, illuminated switch turns on the Aux 1 master output. When the output is turned off, the feed to the VU meter is also off, although the signal may still be previewed with the adjacent CUE switch [51]. 53. AUX 2 STEREO SEND MASTER SECTION This cluster of controls and switches functions identically to the Aux 1 Stereo Send Master Section [48-52], except they affect the Aux 2 Stereo Output. STEREO MASTER SECTION 54.
gether, or they can be operated completely independently if, for example, the stereo bus is used for two discrete mono mixes. 60. TB-TO-MON. B Engaging this switch assigns the Talkback signal to the Monitor B mix. An LED in the switch turns on when it is assigned. NOTE: Normally, you do not want talkback signal assigned to monitors because if the monitoring is via loudspeakers, this can cause feedback. Where the Monitor B circuit is used for remote monitoring, you may want to assign talkback to it.
oscillator when it is not actually in use. NOTE: Even though the oscillator may not be assigned to any busses, it is still possible that you would inadvertently select it when preparing to use the talkback feature, or that some signal could leak into busses (albeit at low levels). Hence, leave the oscillator OFF when it is not actually being used for testing or calibration. Figure 2-5b. PM4000 TB Module (middle portion of module) 67.
supply with an A-B powered mic, in which case you should turn off the TB 48V Switch. 71. (TB INPUT) This XLR-3 connector accepts a low-Z microphone or a line level signal, depending on the settings of the controls below it. Signal from this input is assigned to the TB OUT connector and to the various mixing busses by means of the assignment switches in the upper portion of this module [59], [60], [61], [62], [63] and [64]. 72.
2.1.6 The Monitor Module 77. SOLO MODE (switch) This locking, red, illuminated switch flashes when engaged, indicating the console monitor system is set to the SOLO mode. In this mode, input channel CUE/SOLO switches mute all other channels, much like a recording console SOLO function. This mode is useful during setup and sound check for a live show.
81. ON switch (Monitor B On) Engaging this switch applies the Monitor B signal to the Monitor B left and right output connectors. The switch is illuminated when the output is on. Figure 2-6b. PM4000 Monitor Module (middle portion of module) 82. 2TR IN 1, 2TR, IN 2, ST CH3, ST CH4, ST OUT (Monitor A Source Select Switches) These five switches function just like the first five Monitor B Source Select switches [78], except they send signal to the Monitor A outputs. 83.
90. PHONES (Level control) This 2-gang rotary control adjust the output level at both stereo PHONES output jacks. It affects any signals which may be fed to these outputs. 91. INPUT CUE / SOLO (LED status annunciators) INPUT CUE is a yellow LED that turns on when any input channel’s CUE/SOLO switch is engaged, indicating the console is subject to input cue priority. This is an indication that the signal in the monitor A and the headphones outputs is being derived from one or more inputs via the cue system.
2.1.7 The Meter Bridge The PM4000 is equipped with 2 jumbo and 12 or 16 large, illuminated VU meters, depending on the size of the mainframe. Each meter has true VU ballistics to indicate approximate loudness, plus a red "PEAK" LED which responds to instantaneous levels that are beyond the scale of the meter. The PEAK LED turns on 3 dB below the clipping point.
96. II (Group/Matrix/Aux meters and indicators) On 24 and 32 channel mainframes, these four meters monitor the correspondingly numbered busses, as described above in item [95]. In 40 or 48 channel mainframes, these eight meters display the eight group outputs or the eight matrix outputs (redundant with the first two selections for the I set of meters [95]), or the aux outputs.
2.2 PM4000 Rear Panel Features MONO INPUT MODULE INPUT STRIPS All XLR connectors and phone jacks are balanced. Outputs and patch points are +4 dBu level unless otherwise noted. Channel inputs, sub inputs, sub outputs, and primary outputs all rely upon XLR-3 type connectors wired Pin 2=high, Pin 3=low, Pin 1=ground. INSERT IN/OUT points are ¼" (6.33mm) tip/ring/ sleeve configuration, wired tip=low, ring=high, sleeve=ground. 101.
STEREO INPUT MODLUE INPUT STRIPS 104. INPUT L & INPUT R (connectors) These electronically balanced, female XLR-3 connectors apply signal to the left and right sides of the correspondingly numbered input channel. The nominal input level may vary from -70 dBu to +4 dBu depending on the settings of the channel input gain control and 30 dB pad switch. Since stereo input GAIN [5S] is a split control, the sensitivity of the L and R input connectors can be made to differ. 105.
109. GROUP SUB IN (1 - 8) These eight female XLR connectors apply signal directly to the group mixing busses (ahead of the Group Insert point and Group Master Faders). They are used for “chaining” another mixing console’s group outputs into this console, with this console serving as the master for both consoles. 110. MTRX SUB IN (1 - 8) These eight female XLR connectors apply signal directly to the correspondingly numbered MTRX SUB IN controls [28].
118. GROUP INSERT 1-8 (IN, OUT) These phone jacks serve as a patch point for the signal from the correspondingly numbered group mixing bus. Nominal output and input level is +4 dBu (1.23 V). The OUT jacks may be used as auxiliary group outputs to another console or as a group output to a multitrack tape machine, although the direct output connectors are provided for this purpose [103].
122. AUX INSERT 1-8 (IN, OUT) These phone jacks serve as a patch point for the signal from the correspondingly numbered auxiliary mixing bus. They function identically to the insert points for the group mixing bus [118]. 123. AUX ST INSERT 1 L & R (IN, OUT) These four phone jacks serve as a patch point for the signal from the left and right sides of the number 1 auxiliary stereo mixing bus.
130. GROUP OUT (1 - 8) These eight male XLR connectors output signal from the eight group mixing busses, just after the Group Master Faders. They may be used for submixed feeds to a remote console (i.e., to a stage monitor console or a broadcast remote), for feeds to a multitrack tape recorder, or for feeds to a multizone sound system, depending upon the application.
134. TB OUT This male XLR connector outputs signal from the talkback circuit when the TB OUT switch [64] is on. If that switch is OFF, this output is muted. Assuming the TB OUT switch is on, this output is derived from the talkback input XLR when the TALKBACK switch [74] is engaged. Otherwise the TB OUT is derived from the console’s oscillator/ noise generator.
2.4 The PW4000 Power Supply Figure 2-16. PW4000 Power Supply (Front and Rear Panels) 141. POWER This alternate-action switch turns on the AC input to the supply, and thereby provides the necessary output voltages to the console via the umbilical power cable. Pressing the switch a second time turns off the power. 142. Operation Monitor This panel of LEDs indicates when power is present at the various power supply outputs, as well as other aspects of the power supply’s operation.
144. DC OUTPUT (Umbilical Connector) This locking, multi-pin connector provides the necessary DC voltages from the PW4000 power supply to the PM4000 console. The cable must be connected correctly before attempting to operate the console. See Figure 2-17 for the pin assignments. CAUTION: Always make certain that the PW4000 power is turned OFF prior to connecting or disconnecting the umbilical cable at the console or at the power supply. 145.
Section 3 Specifications
Section 3. Specifications PM4000 Mixing Console General Specifications Total Harmonic Distortion (Master Output) Frequency Response (Master Output) Hum & Noise (48 Channels) (20 Hz - 20 kHz) RS + 150Ω <0.1% (THD+N) <0.01% (2nd - 10th harmonics) 0 ±1/3 dB -128 dB -100 dB -85 dB (89 dB S/N) Input Gain = Max.
VU Meters (0 VU = +4 dBu output) 24 or 32 channel consoles 2 large meters 12 small meters 40 or 48 channel consoles 16 small meters VU Meter Peak Indicators LED (red) Phantom Power +48 V dc Dimensions (W x H x D) Weight 48 Channel 40 Channel 32 Channel 24 Channel 48 Channel 40 Channel 32 Channel 24 Channel Illuminated meters: STEREO L, R Illuminated meters, all switchable: #1 - #4; GROUP (1 - 4) / MTRX (1 - 4) / AUX (1 - 4) #5 - #8; GROUP (5 - 8) / MTRX (5 - 8) / AUX (5 - 8) #9; AUX ST1 L / MONIT
INPUT CHARACTERlSTlCS PAD Connection CH IN ST CH IN 1 ~ [ch (*1) 1 ~ 4ch 0 30 0 30 Gain Trim Actual load Impedance -70 SUB IN GROUP (1 ~ 8) STEREO (L, R) AUX (1 ~ 8) AUX ST1, 2 (L, R) CUE (L, R) MTRIX (1 ~ 8) TALKBACK IN 10κΩ -50 +4 3κΩ INSERT IN 1 ~ [ch (*1) CH 1 ~ 4ch ST CH GROUP (1 ~ 8) STEREO (L, R) AUX (1 ~ 8) AUX ST1, 2 (L, R) MTRIX (1 ~ 8) 2TR IN 1, 2 (L, R) NOTES: *1 *2 *3 *4 3κΩ -20 Input level (*3) Nominal -70 dB (0.25 mV) -40 dB (7.75 mV) -20 dB (77.5 mV) +10 dB (2.
Dimensional Drawings PM4000 Console (all versions) Page 3-4
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PM4000 Console Rear Profiles Page 3-6
Module Block Diagrams (See back of the manual for overall system block diagram) Page 3-7
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Section 4 Installation Notes
Section 4. Installation Notes 4.1 Planning An Installation 4.2 Power Mains Before installing the PM4000, it is worthwhile considering how it will be used, how it is going to be connected, and what is the best way to implement the installation. 4.2.1 Verify The Correct Mains Voltage To begin with, there must be a surface upon which the console can be mounted. A desk or table top can be constructed to support the console.
voltmeter. It is also a good idea to use a special outlet tester that will also indicate reversed polarity, weak or missing neutral, and weak or missing ground connections in the outlet. Test the power supply before connecting the umbilical cable to the console. Severe over voltage or under voltage in the power mains can damage your equipment. For U.S.A. and Canadian models, the power line must measure more than 105V and less than 130V RMS. The tolerance for General Export models is plus or minus 10%.
Figure 4-3. Schematic of an Outlet With a Lifted Neutral If the PW4000 is plugged into one socket of the two outlets with lifted neutral, and a rack of signal processing equipment or power amplifiers is plugged into the other, fuses would probably blow upon turning on the system, and some of the sound equipment could be destroyed. Figure 4-2.
way to ground via the safety ground, instead of via a person’s body. When checking AC power lines at the outlet, be sure you have proper testing tools and some familiarity with the danger of shock hazards from AC power. Follow the diagram shown here, being careful not to touch metal with your hands. Do not short the test leads together. If you are not familiar with AC power distribution, don’t experiment; have a licensed electrician perform these tests and correct any discrepancies.
4.3 Theory of Grouding Grounding is an area of “black magic” for many sound technicians and engineers, and certainly for most casual users of sound systems. Everyone knows that grounding has something to do with safety, and something to do with hum and noise suppression, but few people know how to set up a proper AC power distribution system, and how to connect audio equipment grounds so that noise is minimized.
Dangerous potential differences can also occur without such shorts. Two individual localized ground points, if they are not directly connected, cannot be assumed to be at the same potential – far from it, in fact. Virtually anyone who has played in a band has, at one time or another, experienced a shock when touching both the guitar and the microphone.
ment. If one of these conditions is not met, then instead of going directly to earth ground and disappearing, these circulating ground loop noise currents (which act like signals) travel along paths that are not intended to carry signals. The currents, in turn, modulate the potential of the signal-carrying wiring (they are superimposed on the audio), producing hum and noise voltages that cannot easily be separated from program signals by the affected equipment.
are required to implement this approach, since ground is not carried between components. One drawback is that cables may not all be the same – some having shields carried through at both ends, and others not, depending on the equipment – so it becomes more complicated to sort out the cabling upon setup and breakdown of a portable system. 2) Connect signal ground within each separate subsystem to earth at one point only.
end without affecting the audio signal on the two inner conductors of the cable, and with little or no effect on the shielding. Unfortunately, this is not a very practical solution to the ground loop problem for portable sound systems because it requires special cables with shields disconnected on one end. Fortunately, some professional audio equipment, including Yamaha PC-Series amps, is equipped with ground lift switches on the balanced inputs.
The PM4000 is fitted with only two types of audio connectors: 3-pin XLRs, both male and female, and 3circuit (tip/ring/sleeve) ¼” phone jacks (also known as stereo phone jacks, although their function is sometimes to carry a balanced mono signal rather than a stereo signal). 4.4.1 Types of Cable To Use 2-conductor (twisted pair) shielded cable is best for all XLR connections.
Figure 4-12. Cables For Use With Unbalanced Sources NOTE regarding Figure 4-12. For microphone cables, conect the shield to pin 1 at both ends of the XLR cable. For line-level signal cables, cut the shield as illustrated.
Figure 4-13.
ground gives long lines immunity to external interference. Twisting two wires together theoretically subjects each wire to the same amount of electrostatic or electromagnetic noise. A balanced input will then cancel the unwanted noise signals common to both wires, while passing the desired audio signal, as illustrated in Figures 4-14. designed to recognize only the difference in voltage between the two wires, and (hence the term “balanced differential input”).
where a transformer is desirable even if the input is electronically balanced. For example, where there is a signiftcant amount of electrostatic or electromagnetically induced noise, particularly high-frequency highenergy noise (the spikes from SCR dimmers, for example), the common mode rejection ratio (CMRR) of an electronically balanced input may be insufficient to cancel the noise induced in the cable. In such cases, input transformers can be useful.
4.5 Direct Boxes The so-called “direct box” is a device one uses to overcome several of the problems that occur when connecting electric guitars and some electronic keyboards to a mixing console. By using a transformer, the direct box provides important grounding isolation to protect a guitarist from inadvertent electrical shock in the event of a failure in the guitar amplifier or other equipment’s power supply.
which is ideal. Each winding, each Faraday shield, and the transformer chassis shield should have separate leads. Figure 4-15. Passive Musical Instrument Direct Box (D.I. Box) Schematic Diagram Notes Regarding Figure 4-15: 1. C1 is a high quality, non-polar aluminum electrolytic, such as Roederstein type EKU. Voltage rating should be 25 V or higher. If non-polar cap is not available, use two 47µF, 25V polarized electrolytics in series.
4.5.2 Active Guitar Direct Box The active direct box shown here can be used at the output of a standard electric guitar, with or without an amplifier. Because of its very high input impedance, it can be used with a piezoelectric instrument pickup, taking the place of the preamp that is normally included with such pickups. This box is not meant for use at the output of a guitar amplifier (see PASSIVE DIRECT BOX information).
Before actually mounting the selected components, it is wise to carefully plan out each rack with an eye to signal flow, heat flow, and weight distribution. It might be best to mount together components that function as a group: the equalizer, active crossover and power amplifier for a single loudspeaker or array, for example. On the other hand, some prefer to mount all the equalizers for the system in one rack, all the power amplifiers in another, and so on.
SECTION 5 Gain Structure and Levels
SECTION 5. GAIN STRUCTURE AND LEVELS 5.1 STANDARD OPERATING LEVELS There are a number of different “standard” operating levels in audio circuitry. It is often awkward to refer to a specific level (i.e., +4 dBu) when one merely wishes to describe a general sensitivity range. For this reason, most audio engineers think of operating levels in three general categories: A. MIC LEVEL OR LOW LEVEL This range extends from no signal up to about -20 dBu (77.5 mV), or -20 dBm (77.
5.2 Dynamic Range and Headroom 5.2.1 What Is Dynamic Range? Every sound system has an inherent noise floor, which is the residual electronic noise in the system equipment (and/or the acoustic noise in the local environment). The dynamic range of a system is equal to the difference between the peak output level of the system and the noise floor. 5.2.
Figure 5-1.
5.2.6 How To Select a Headroom Value and Adjust Levels Accordingly 5.2.5 A General Approach To Setting Levels In a Sound System Just because individual pieces of sound equipment are listed as having certain headroom or noise and maximum output capability, there is no assurance that the sound system assembled from these components will yield performance anywhere near as good as that of the least capable component.
Remember that with a 20 dB headroom figure, a power amplifier as powerful as 500 watts will operate at an average 5 watts output power. In some systems such as studio monitoring, where fidelity and full dynamic range are of utmost importance, and where sensitive loudspeakers are used in relatively small rooms, this low average power may be adequate. In other situations, a 20 dB headroom figure is not necessary and too costly due to the number of amplifiers required.
dynamic range. Of course, another alternative is available: add more amplifiers and speakers so that the desired headroom can be obtained while raising the average power level. 5.3 Gain Overlap And Headroom As explained previously, the PM4000 can deliver +24 dBu output level, a level which exceeds the input sensitivity of most other equipment. A power amplifier's sensitivity, for example, is that input level which drives the amplifier to maximum output (to the point of clipping).
Section 6 Optional Functions
Section 6. Optional Functions The PM4000 is factory wired to suit what Yamaha engineers believe to be the greatest number of applications. Yamaha recognizes, however, that there are certain functions which must be altered for certain specific applications. In designing the PM4000, a number of optional functions have been built in, and can be selected by moving factory preset switches within certain modules.
6.1 Removing and Installing A Module Figure 6-1. Removal of PM4000 Module 1. Turn the Power OFF first, before removing or installing a module. 2. Loosen the screws at the top and bottom of the rear panel input/output strip corresponding to the module being removed (except Master section modules). These screws are not retained so be sure to grasp them and set them aside for reinstallation of the module. [6-1A] 3. Loosen the retaining screws at the top and bottom of the module.
6.2 Mono Input Direct Out Jack: Pre-Fader or Post-Fader (switch) Pre-ON or Post-ON Switch (jumper) A slide switch in each input module permits the Direct Out point to be altered. As shipped, the console is set so that the Direct Out point is derived after the EQ and Fader (technically speaking, it comes after the VCA which is controlled by the fader). If you wish the Direct Out to be Pre-EQ and Fader (actually pre-VCA), move the switch to the appropriate position, as illustrated.
6.3 Mono Input Aux Sends: Pre Fader & EQ or Pre Fader/post EQ Ten slide switches in each input module permit each of the eight mono auxiliary sends and the two stereo aux sends to be altered. As shipped, the console is wired so that if the front-panel aux PRE/OFF/POST switch is set to PRE position, the aux send is derived ahead of the the fader and equalizer (but after the high pass filter).
6.4 Mono Input Cue/Solo Switch: PreFader or Follow MT PRE Switch As shipped from the factory, the mono input channel CUE/SOLO switch applies signal to the left and right cue busses from a point which is derived just ahead of the channel fader (actually, just ahead of the fadercontrolled VCA). However, an internal jumper in each mono input module enables this function to be altered so that the take-off point for the cue/solo signal tracks the signal feed to the channel’s LED level meter.
6.5 Stereo Input Cue/Solo Switch: PreFader or Follow MT PRE Switch As shipped from the factory, the stereo channel CUE/ SOLO switch applies signal to the left and right cue busses from a point which is derived just ahead of the channel fader (actually, just ahead of the fader-controlled VCA). However, an internal jumper in each stereo input module enables this function to be altered so that the take-off point for the cue/solo signal tracks the signal feed to the channel's LED level meter.
6.6 Mono & Stereo Input Channel MT PRE Switch: Pre- or Post-ON Switch Two jumpers in each mono input module (four on each stereo input module) permit the channel level meter’s MT PRE switch function to be altered. As shipped, when the channel is set so that the meter is in POST mode, the meter indicates the level after the Fader and the channel ON switch. By chaning the jumpers as indicated, the POST function can be made to show the level after the Fader, but before the channel ON switch.
6.7 Stereo Input Channel Insert In/Out Jacks: Pre-EQ or Post-EQ Four jumpers in each stereo input module permit the two pair of Insert In/Out points to be altered separately. As shipped, the console is set so that the Insert In/Out points come after the channel equalizer. This is useful, for example, when one wishes to the send to the signal processor... for example, to apply the boost prior to compression. However, sometimes one wishes to equalize equalize the return from a signal processor.
6.8 Stereo Input Channel Aux Sends: Pre Fader & EQ or Pre Fader/Post EQ Eight slide switches in each stereo input module permit each of the eight mono auxiliary sends and to be altered. Two more switches perform the same function for the two stereo aux sends. As shipped, the console is wired so that if the front-panel aux PRE/OFF/POST switch is set to PRE position, the aux send is derived ahead of the the fader and equalizer (but after the high pass filter).
6.9 Stereo Input Channel Aux Sends 1-8: L+R Blend or Stereo Pairs A single slide switch in each stereo input module changes the signal source for the Aux Sends 1 through 8 (without regard to pre or post status). As shipped, these Aux Sends each carry a mono combination of the left and right inputs to the channel.
6.10 Stereo Input Channel Stereo Aux Sends 1 & 2: L+R Blend or Stereo Pairs A slide switch in each stereo input module changes the signal source for the two stereo aux sends (without regard to pre or post status). As shipped, the two Stereo Aux Sends each carry discrete left and right signals from the channel input. Moving the switch changes the signal take-off points so that the L and R sides of each stereo Aux Send both carry the same mono L+R combined signal (i.
6.11 Stereo Input Channel Feed to Monitor Module ST IN 3 or ST IN 4 The Monitor module has provisions for selection and monitoring of signals assigned from the “Stereo In 3” and “Stereo In 4” modules. However, the stereo module numbers are arbitrarily designated; stereo modules can be located in just about any mainframe input module location, and more than one can contribute to the ST IN3 or ST IN4 monitor mix.
6.12 Phase Switch Function: Change Polarity of Both L and R inputs, or of L Only As shipped, the Stereo Input Module’s Phase Swich (Ø) [8S], which is really a polarity switch, reverses the polarity of both the left and right inputs to the module. If you wish to alter the polarity of the left input with respect to the right input, you must reset a switch on the module’s circuit board.
6.13 Stereo Input Module: Output Enable Jumpers to Group, Stereo and Aux Busses The stereo input module may be used as an effects return module. In this case, it could be disastrous if an incoming signal were to be assigned to the bus which is feeding the signal processor whose output is coming into the module. In other words, at the press of the wrong bus-assign button, there could be feedback that might shatter eardrums and shred loudspeakers.
stereo house mix from the eight subgroups, yet you need as many as eight additional mono or five stereo mixes. 6.14 Master Module: Group-to-Matrix Assigned Pre or Post Group Master Fader A slide switch in each master module permits the module’s group send to the mix matrix to be altered. As shipped, the console is preset so that when the GROUPTO-MTRX switch is on, the matrix is fed signal after the Group Master Fader (but before the GROUP ON/off switch).
6.15 Stereo Master to Matrix ST Bus: Pre or Post ST Master Fader A slide switch in Stereo Master module enables the signal applied to the matrix stereo bus from that module to be derived from two different points. As shipped, the switch is preset so the matrix is fed its signal after the Stereo Master fader [58] so that adjustments in the stereo output also affect the feed to the matrix. The internal switch can be repositioned so that the matrix is fed pre Stereo Master fader.
6.16 Installation of Optional Input Transformers The PM4000 standard input module is equipped with a balanced, differential input preamplifier for the XLR connector. That preamp, along with some circuitry for the resistive attenuation pads, is located on a small printed circuit board that “piggy back” mounts to the module’s main circuit board. Refer to Figure 6-16A. An optional transformer balancing option may be installed by a Yamaha PM4000 dealer or a qualified electronic service technician.
6.15 Hints on Circuitry For Remote Control of the VCA Masters and Mute Groups The VCA/MUTE CONTROL connector on the PM4000 rear panel is provided primarily so that two consoles may be linked, and just one console’s VCA MASTER FADERS and/or MUTE MASTER switches will affect both consoles input channels. However, it is possible to create an independent controller so that these functions can be remoted from the console.
YAMAHA PART# QUAN SUFFIX LETTER VALUE OR TYPE ITEM UA21410 2 K HU07543 1 F 0.
Section 7 Operating Notes and Hints
Section 7. Operating Notes and Hints This section is not meant to be comprehensive. Instead, it focuses on a few areas which we feel require special attention, or where a better understanding of the function can lead to far more utility or better sound quality from the PM4000. 7.1 Console Gain Structure In the GAIN STRUCTURE AND LEVELS section of this manual, we discuss some general considerations regarding levels and system setup.
Given the correct GAIN and PAD settings, adjust the channel Fader to its nominal (0 dB) setting. This setting provides the best range of control, with some boost available if the signal must be raised in the mix, and plenty of resolution for fading the signal down in the mix. between input channels, and will keep the bus level from being too hot. Finally, release the Group CUE switch. Now the channel HP Filter and EQ can be set as desired.
Fader, which is changeable via internal preset switches; the Group bus calibration must still be done first to establish the proper levels on the group busses ahead of the Group Masters. The same concept applies to the stereo bus.
7.1.9 Channel Muting and Gain Structure As pointed out earlier, adding inputs to a mix will increase mix levels. If optimum mix levels are established with some input channels muted, and those channels are later turned on (either with the channel ON/off switch or with the channel MUTE and MASTER MUTE switches), then the bus levels may increase unacceptably, and all input channels’ levels applied to the offending bus or busses may have to be reduced.
trolled Amplifier) in the input module. The audio signal flowing through that VCA is, in turn, increased or decreased in level according to the control voltage applied to the VCA. One advantage of the VCA is that the control voltage applied to it can come from more than one point.
NOTE: Channels and outputs are selected at random in this illustration. The VCA Master Fader controls multiple input channels, and their outputs to all busses (assuming Post-fader AUX sends). There is no single insert IN/OUT point that can process this VCA-controlled group of inputs, however. NOTE: Channels and outputs are selected at random in this illustration. The Group 1 Master Fader controls the Post-input Fader signals from all of these input channels.
On the other hand, if one “pulls down” the conventional Group Master Fader in the first example above, the level of the double-assigned input will only drop 3 dB, whereas pulling down a VCA Master Fader will completely kill any input channel assigned to that VCA group. Ultimately, the selection of VCA or conventional Group Master Fader assignments should be dictated by the specific requirements of the application. 7.2.
The Mix Matrix is Located on the Top portion of Master Modules 1-8 Figure 7-3.
7.2.4.1 The Mix Matrix In General Sound Reinforcement Instead of feeding the house sound system directly from the Group outputs [130], or the Stereo output [133], the sound system can be fed from the Matrix outputs [131]. The Group busses and Stereo bus would then be used for mixing sub-groups of different sources; i.e., brass, drum/percussion, lead vocals, backup vocals, rhythm guitars & bass, lead guitar, keyboards (in stereo), and so forth.
into the corresponding matrix channels, and fed to the house sound system which is driven by the matrix outputs. A related use for the MTRX SUB IN connectors is to inject a test signal for speaker setup and testing. While the PM4000 test oscillator can be assigned to the Group or Stereo busses, which, in turn, feed the matrix, it is likely that the Group and Stereo Master Faders will not be set at nominal levels for the show.
moment the choir is called upon, thus reducing noise, the “hollow” sound from those open mics, and removing the extra stress on the choir members of having to keep absolutely still during the entire service. These are but a few of the ways that the PM4000’s ability to mute overlapping groups of input channels can be used to advantage. NOTE: While a similar function could be achieved by using the Group ON/off switches, the functions are really different.
7.2.6 Stereo Panning To the Eight Group Mixing Busses The input channel bus assignment is very flexible. One can assign a channel directly to the stereo bus using the ST switch [3], and the PAN pot will place the signal between the left and right sides of that stereo bus. However, if the PAN switch [2] is engaged, then the PAN pot will place the channel output between any odd-numbered and even-numbered group mixing busses (based on those assign switches [1] which are actually engaged).
Section 8 Applications
Section 8. Applications 8.1 General The PM4000 is designed primarily for audio mixing in live sound reinforcement applications. Its exceptional flexibility, however, will undoubtedly appeal to those who need a high quality audio mixing console for other applications, including TV show and music video production, AV audio production, and general recording.
maintain an ideal S/N ratio while avoiding tape saturation. At the same time, the mix matrix can create working mixes of those groups, with levels adjusted for more “listenable” reference monitoring or foldback. Alternately, some of the aux mix busses can be used for performer cue mixes or foldback, while others can be used for effects sends or to supplement the group mixes when even more tracks must be recorded (eight group outs plus eight aux outs = 16 tracks).
With eight auxiliary sends, and four aux returns, it’s easy to utilize the most sophisticated effects. The aux returns, which can each be used for a mono or stereo source, have two-band, sweep-frequency equalization. If even more returns are needed, input channels may be used (they each have four-band parametric equalization with plenty of overlap between bands). Built-in talkback capability make it easier for the producer or director to speak with crew or talent. 8.1.
8.2.2 The Mix Matrix Allows the 8 Groups Plus the Stereo Bus to Function as 10 Subgroups. 8.2.3 How To Get 5 Independent Stereo Mixes or 10 Mono Mixes by Using the Stereo Bus Plus the Mix Matrix. It is relatively straightforward to use the mix matrix to create up to eight mono outputs or four stereo outputs from the eight subgroups and the stereo bus. However, it is equally easy to use the stereo bus not to create a stereo mix, but instead to create two additional subgroups.
Figure 8-3.
8.2.4 How to Use the VCA Masters Plus the Group Master Faders to Obtain the Functional Equivalent of 16 Subgroups. Let’s assume the object is to obtain a stereo output (or a pair of mono outputs). Some input channels can be assigned to the Group busses via their assign switches [1]. The eight Group Master Faders [42] then control these eight subgroups, and the Group-to-Stereo switches [40] combine these eight subgroups for control by the Stereo Master Faders [58].
8.2.5 Using More Than One VCA Master to Control the Same Input Channels In Order To Handle Overlapping Scenes. In a multi-scene theatrical presentation, or a multiset concert, to name a couple of examples, it may be necessary to mix the same input channels at different levels to suit changing stage requirements.
Section 9 Maintenance
Section 9. Maintenance isopropyl alcohol. Try to get it on the element, and immediately work the pot or fader several times all the way between stops. 9.1 Cleaning The Console 9.1.1 The Console and Power Supply Exterior The console and power supply are painted with a durable finish. To avoid damage to the paint, control knobs, switch caps and other parts, DO NOT USE SOLVENTS. Instead, keep the console as free of dust as practical. Cover it when not in use, and brush or vacuum it periodically.
9.2 Meter Lamp Replacement The VU meters and meter-assign indicators are illuminated by LEDs which should not require replacement. Contact your Yamaha dealer or service facility should a meter illumination LED fail. 9.3 Where To Check If There Is No Output In general, when something appears not to be working properly in a sound system, it is necessary to have a clear understanding of the system block diagram. One should look for a “good” signal by patching around suspect equipment, modules or circuits.
9.4 What To Do In Case of Trouble The PM4000 is supported by Yamaha’s worldwide network of factory trained and qualified dealer service personnel. In the event of a problem, contact your nearest Yamaha PM4000 dealer. For the name of the nearest dealer, contact one of the Yamaha offices listed below. Yamaha Corporation Nakazawa-Cho 10-1, Hamamatsu, Japan 430 Yamaha Music Benelux B.V. Kanaalweg 18G, 3526KL. Utrecht The Netherlands Yamaha Corporation of America 6600 Orangethorpe Avenue, Buena Park, Calif.
YAMAHA VN02300
