Owner's Manual E
Explanation of Graphical Symbols CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The above warning is located on the rear of the unit.
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the device.
Connections Backup battery • Before connecting the device to other devices, turn off the power for all devices. Before turning the power on or off for all devices, set all volume levels to minimum. • This device has a built-in backup battery. When you unplug the power cord from the AC outlet, the internal data is retained. However, if the backup battery fully discharges, this data will be lost. When the backup battery is running low, the display indicates “LoBT(Low Battery).
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference.
Foreword Foreword Thank you for choosing a Yamaha PM5000 Mixing Console. The PM5000 is the proud successor to the highly acclaimed Yamaha PM4000, which became the definitive sound reinforcement console of the preceding decade in terms of both performance and features. The PM5000 carries on the PM-series pedigree with unprecedented sound and operability, while inheriting new digital control features from Yamaha’s top-line PM1D digital console.
About This Manual About This Manual General Approach Most of this manual is devoted to describing the features and functions of the various PM5000 modules. Since the operational design of the PM5000 is based on familiar analog console principles, anyone who is familiar with the PM4000 or similar consoles should be able to begin operating the PM5000 without hesitation. New features and multi-module control operations will be described in column form.
Contents Foreword 6 About This Manual 7 General Approach ....................................... 7 The PM5000 Models .................................... 7 PM5000 Overview 10 Panel Layout .............................................. 10 Top Panel ................................................... 10 Rear Panel .................................................. 12 Expansion: Connecting to External Equipment .............. 14 Cascade ........................................................ 14 MIDI...
Monitor Control Section 40 Monitor Source........................................... 40 The Monitor Outputs.................................. 41 Cue Signal Monitoring............................... 41 Solo Mode................................................... 44 Cue and Solo .................................................44 Basic Operation ............................................45 Meter Bridge ............................................... 47 Digital Control Section 49 Control Functions ....
PM5000 Overview PM5000 Overview Panel Layout The layout of the PM5000’s functional sections in the basic configuration is shown below. In the PM500052C the master output section is located in the center of the console, while in all other models it is located to the right of the console. N OT E In this manual the console’s main functional groups are referred to as “sections.” Each section further contains “blocks” of functions. The basic hardware divisions are “modules.
PM5000 Overview 1 Input Channel Section (page 15) 3 Matrix Send and Master Out Section (page 35) Two types of input channels are provided – mono and stereo – but the basic block structure of each is the same. After going through phantom power, input gain, phase reversal, and high-pass filter stages, the audio signal passes through a 4-band equalizer before it reaches the channel fader. External processing gear can be inserted into the channel signal path either before or after the EQ block.
PM5000 Overview 7 Mute Master Section (page 21) 9 Meter Bridge (page 47) The 8 [MUTE MASTER] switches can be used to mute specified input channel groups, or as [DIRECT RECALL] switches for the scene memory. Whether these switches function in the MUTE MASTER or DIRECT RECALL mode is specified via a utility mode function. Used in conjunction with the monitor control section, the meter bridge’s LED bar-graph meters provide visual monitoring of final output levels at the console’s rearpanel outputs.
PM5000 Overview ! Mono (Stereo) Inputs ( Stereo Output and Mono Output XLR-type input connectors, DIRECT OUT connectors, and INSERT IN and OUT connectors are provided on each input channel. Stereo modules feature separate connectors for the L and R channels, but do not have DIRECT OUT connectors. These are the stereo and mono master outputs (ST OUT, MONO (C)).
PM5000 Overview Expansion:Connecting to External Equipment The PM5000 is entirely self-contained and can be used effectively on its own, but it does provide some versatile expansion capabilities. In this section we’ll describe how the PM5000 can be synchronized with external gear and cascaded with other Yamaha mixing consoles. Type B The TYPE [B] cascade connector can be used to connect the PM5000 to a Yamaha PM4000 or PM3500 series console for linkage of the functions listed below.
Input Channel Section Input Channel Section Mono Input Module Stereo Input Module Mono and Stereo Input Modules Mono and stereo input modules make up the console’s input channel section. In essence each stereo module contains two parallel mono signal paths, and the panel controls control both channels simultaneously. Head Amp Block Initial adjustment of the input audio signal level and other parameters can be carried out here.
Input Channel Section 3 [GAIN] Control Adjusts the input level. When the [PAD] switch is off the input level can be adjusted from –10 dB through –60 dB. When the [PAD] switch is engaged the range is from +16 dB through –34 dB. NO T E Stereo modules feature concentric gain controls: the inner control adjusts the gain of the left channel and the outer control adjusts the gain of the right channel.
Input Channel Section Insert Block Stereo Aux Send 1~12 Block These switches are used to determine whether and where external processing gear connected to the rear-panel INSERT IN and OUT connectors will be inserted into the channel signal path. The controls in this block determine the levels at which the channel signal is sent to the console’s 12 stereo aux buses.
Input Channel Section G/A (Group/Aux) Send 1~8 Block Main Out Block These controls determine how the channel signal is sent to the console’s 8 group/aux buses. This block determines how the channel signal is assigned to the console’s main stereo and mono (center) buses. The stereo and mono outputs can be used independently, or combined for LCR output.
Input Channel Section ( Main Out Switches ¡ Level Meter Determine where the post-fader channel signal will be sent. To assign the channel signal to the stereo bus engage the [ST] switch and use the [PAN] & or [BAL] * control to adjust the stereo image. To send the signal to the mono bus engage the [MONO] switch. In all cases the channel fader determines the signal level.
Input Channel Section Channel Fader Block The channel faders determine the level of the channel signal sent to the console’s master buses, and are of primary importance in setting up the balance between the various channels in the mix. The channel faders can also be assigned to specific VCA and mute groups for group level and mute control. £ ¢ ∞ § ™ ¶ ™ Channel Fader § MUTE Indicators 1~8 Adjusts the out signal level from the corresponding channel.
Input Channel Section Channel Grouping This section will describe how channels can be assigned to VCA and mute groups. VCA Master Section VCA 1 VCA Mute Master Switches 2 VCA 3 VCA 10 VCA 11 VCA 12 VCA Grouping Assigning VCA and Mute Groups The PM5000 provides two methods of “grouping” input channels so that they can be controlled via a single master fader while maintaining the level relationship between the individual channels in the group.
Input Channel Section VCA Group Assignment Procedure 1 Press the ASSIGN MODE [VCA] key to initiate the assignment procedure (the indicator will flash). 2 Engage a VCA master [CUE] switch to specify the VCA master to which a channel or multiple channels are to be assigned. The [CUE] switch will flash. If any input channels are already assigned to the selected VCA master, their corresponding VCA indicators will flash.
Input Channel Section Mute Group Assignment Procedure 1 Press the ASSIGN MODE [MUTE] key to initiate the assignment procedure (the indicator will flash). 2 Engage a mute master ([1] ~ [8]) switch to specify the muter master to which a channel or multiple channels are to be assigned. The mute master switch will flash. If any input channels are already assigned to the selected mute master, their corresponding MUTE indicators will flash.
Input Channel Section VCA Master and Master Mute Switch Group Control If a number of input channels are assigned to VCA masters or mute master switches as described in the preceding section, those channels can be controlled as a group from a single fader or mute switch. VCA Section VCA master faders 1 ~ 12 function as group faders for the assigned input channels, adjusting the output level of all assigned channels while maintaining the level relationships between them.
Input Channel Section The VCA 1 ~ VCA 12 [CUE] switches function as group cue switches for all assigned input channels. When a VCA master [CUE] switch is engaged it will light, while the [CUE] switches of all assigned channels will flash, and the signals from those channels will be routed to the console’s cue (L&R, C) buses for monitoring. VCA Faders VCA 1 Channel Faders VCA 2 1 2 3 4 5 6 7 Channels 1 and 3 can be monitored by engaging either the VCA 1 or VCA 2 [CUE] switch.
Group Mute Channel [ON] Switch Indication Mode When the channels assigned to a MUTE MASTER ([1] ~ [8]) switch are muted, the [ON] switches of the muted channels can be set to either flash or go out entirely. Flashing is the initial default setting. 1 Enter the Group Mute Display Setup Mode by turning the power off, and then back on while holding the ASSIGN MODE [MUTE] switch. Please note, however, that the console will automatically restart in the normal mode if no operations are performed for 5 seconds.
2 While the Group Mute Display Setup Mode display is showing use the [INC]/[DEC] keys to select either “BLINK” (the muted channel [ON] switches will flash) or “STATIC” (the muted channel [ON] switches will go out). BLINK Mode STATIC Mode M U T E M U T E M O D E : B L I N K M O D E : S T A T I C Flashing 3 Going out Press the [ENTER] key to confirm the selection and restart in the normal mode. Press the [CLEAR/EXIT] key if you want to restart in the normal mode without altering the previous setting.
Master Out Section Master Out Section Stereo Aux Master Module G/A Master Module Stereo/Mono Master Module Multiple Masters In Single Modules The master output section is made up of modules housing the masters for 12 stereo aux buses, 8 G/A (group/aux) buses, a stereo bus, and a mono bus. Both the stereo aux and G/A master modules combine pairs of adjacent masters – odd and even numbers – in each module.
Master Out Section Basic Signal Routing In the same was as the input channel modules, the only real difference between the stereo aux, G/A, stereo, and mono masters is whether they are mono or stereo. The basic routing is the same for all signals, as summarized in the diagrams below.
Master Out Section Controls Common To All Masters Since the basic signal routing is common to the various master modules, all modules also feature many of the same controls. It is the differences that, in a sense, define the character of each module type. The stereo and mono masters have completely independent sets of controls, while the stereo aux and G/A masters each combine two pairs of channels with two identical sets of controls.
Master Out Section 1 [TO MATRIX] Switch 8 Master Fader When this switch is engaged the signal from the corresponding master is sent to the stereo and mono matrix. The matrix send is derived after the master fader and master [ON] switch. Because of this the master [ON] switch must be engaged in order to send the master signal to the matrix via the [TO MATRIX] switch. Determines the output level presented at the corresponding master output connector.
Master Out Section Stereo Aux Master Module Refer to the preceding “Controls Common To All Masters” section for descriptions of the stereo aux master controls not included in this section. 5 [L+R] Switch Engaging this switch sums the corresponding premixed stereo signal to a mono signal which is then delivered via both the L and R master channel. NOTE To maintain the proper subjective signal level the left and right channels are attenuated by 3 dB.
Master Out Section G/A (Group/Aux) Master Module Refer to the preceding “Controls Common To All Masters” section for descriptions of the G/A master controls not included in this section. ) [TO ST] Switch ! [PAN] Control @ [TO MONO] Switch When the [TO ST] switch is engaged the post-fader is sent to the stereo bus via the [PAN] control for left/right positioning. When the [TO MONO] switch is engaged the same signal is sent to the mono bus.
Master Out Section Group/Aux Switching The G/A modules are all dual types that can be set for GROUP POST PAN (stereo master), GROUP PRE PAN (dual mono master), or AUX (dual mono master) operation. The current mode of each G/A module is shown by the G/A bus mode indicators. Mono AUX mode (default) NO T E The G/A master module mode can be switched via a utility function (page 63).
Master Out Section Cue Operation Differences In the G/A Bus Modes The way the G/A master signal is sent to the cue buses varies according to the selected G/A bus mode. When the GROUP PRE PAN or AUX mode is selected adjacent G/A master channels function independently and the same signal is sent to both the L and R cue buses when cue is engaged.
Master Out Section Stereo and Mono Master Modules Refer to the preceding “Controls Common To All Masters” section for descriptions of the stereo and mono master controls not included in this section. Stereo Master (Left) Mono Master (Right) Compared to the stereo aux and G/A master modules just described, the stereo and mono masters are relatively simple. The stereo master controls on the left side of the module correspond approximately to one half of the controls on a stereo aux module (i.e.
Matrix Send and Master Out Section Matrix Send and Master Out Section Matrix Send Section The matrix send section is located at the top of the console’s master out section. From the hardware standpoint it is a “matrix send block” fed by the outputs of the various master modules, but from an operational perspective it is a separate section to which the signals from the master modules are assigned via their respective [TO MATRIX] switches. The master signals flow vertically.
Matrix Send and Master Out Section Stereo Aux Master Module Stereo/Mono Master Module ST MATRIX Stereo channel sends to the stereo matrices are sent directly with the L/R balance determined by the source channel. (MONO) MATRIX Mono channel sends to the stereo matrices are internally mixed to mono.
Matrix Send and Master Out Section Matrix Master Out Section The matrix master out section is located to the right of the matrix send section. The matrix master out section determines where the signals received at the matrix send section will finally be output, with a comprehensive complement of [INSERT], [RECALL SAFE], and other functions.
Oscillator and Talkback Section Oscillator and Talkback Section The oscillator and talkback sections, located to the right of the master section, are independent. The oscillator section is capable of generating pink noise or sine-wave signals for testing and system setup via the TB bus, while the talkback section can be used to send the audio signal from the talkback mic via the TB bus.
Oscillator and Talkback Section Oscillator/Talkback Signal Output The oscillator is capable of producing continuous or burst-output pink noise, or sine wave signals from 20 Hz through 20 kHz. Engage the oscillator section [PINK] switch to generate pink noise. If the [SWEEP/BURST] switch is off the pink noise produced will be continuous. When the [SWEEP/BURST] switch is engaged the control immediately above it can be used to set the burst-output interval from 1 second through 20 seconds.
Monitor Control Section Monitor Control Section Monitor Source Three sources can be selected for monitoring: the stereo master signal, input from the 2-track inputs (2TR IN 1 & 2), and CUE. The stereo master signal can be monitored via the MONITOR A or MONITOR B output simply by engaging the corresponding [ON] switch and adjusting the [LEVEL] control as required. If the [2TR IN 1] or [2TR IN 2] switch is then engaged the monitor source will be switched to the corresponding 2-track input.
Monitor Control Section The Monitor Outputs Cue Signal Monitoring The two monitor outputs can be used independently or simultaneously. When using MONITOR A and B at the same time, the [LCR] switch can be engaged to allow the MONITOR B L channel to function as the C (center) channel for LCR monitoring in conjunction with the L and R channels from MONITOR A. Engage the [L+R] switch to sum the L and R channels to form a mono mix which will be delivered via both the L and R outputs.
Monitor Control Section When a channel [CUE] switch is operated directly the channel’s pre-fader signal will be sent to the MONITOR OUTs regardless of whether the channel [ON] switch is engaged or disengaged. In contrast to this situation, cue monitoring of input channels via the VCA section is always AFL (post fader and post [PAN/BAL] control).
Monitor Control Section The cue points for all masters can be switched at once. To monitor the pre-master-fader signals engage the [MASTER PFL] switch, or disengage it to monitor the post-monitor-fader signals. In the latter case if the “PRE ON” cue point is selected (before the master [ON] switches – page 69) monitoring is possible even when output to the house speakers is off. [MASTER PFL] Switch [LAST CUE] Switch As described above cue monitoring can be active for one section at a time.
Monitor Control Section Solo Mode Cue and Solo The terms “solo” and “cue” monitoring are often used interchangeably, and in some cases they are actually the same thing. In the PM5000 and most other sound-reinforcement consoles, however, “CUE” is a signal sent to the operator’s monitor speakers while “SOLO” is a signal sent to the speakers fed by the console’s master or matrix outs.
Monitor Control Section Basic Operation Sub Speaker L Sub Speaker C Sub Speaker R The solo mode can be activated by holding the [SOLO MODE] switch on the meter bridge for more than two seconds – the [SOLO MODE] switch will flash. For reasons why you might not be able to switch to the solo mode, see page 66.
Monitor Control Section Master Solo Select Sub Speaker L With complex, large-scale setups, the basic method of using individual [CUE] switches to check the sends to the main house speakers, sub-speakers, on-stage monitors, recording equipment and other gear can be confusing and tedious. The Master Solo function comes in handy in this type of situation. The four SOLO SELECT switches located below the [SOLO MODE] switch can only be used while the solo mode is active.
Monitor Control Section Meter Bridge The PM5000 meter bridge features precise bar-graph meters that display the signal levels at the master outs (stereo aux, group/aux, stereo, mono), matrix outs (stereo, mono), cue (L/C/R), and the talkback/ oscillator bus, from –39 dB to PEAK level in 3-dB increments.
Monitor Control Section The meter bridge also features independent dimmer controls for the meters, panel switch illumination, and gooseneck lamps, as well as a [LAMP OFF] switch for the gooseneck lamps. LAMP DIMMER OUT METER LED DIMMER Bar-graph meter dimmer. Gooseneck lamp dimmer. Gooseneck lamp off switch. LAMP OFF PANEL LED DIMMER Panel switch dimmer.
Digital Control Section Digital Control Section Control Functions The digital control section includes the majority of functions used for digital control of the PM5000 scene memory and utility features.
Digital Control Section 1 Scene Display (3 Digits + 3 Dots) 8 Alpha-numeric Keypad When the PM5000 scene memory function is active the current (last recalled) scene memory number – 000 ~ 999 – is shown on this display. The three display dots indicate the status of the current scene as follows: 9 [CLEAR/EXIT] & [ENTER] Keys Left dot: The scene contains no data. Center dot: A MIDI message has been received. Right dot: The panel settings are different from the recalled scene.
Digital Control Section Scene Memory Functions Overview A “scene” is a set of panel settings stored in one of the PM5000’s 1,000 internal scene memories (000 ~ 999). Any stored scene can be instantly recalled at any time for fast efficient changes. The first 10 scene memories (000 ~ 009) contain preset data for common basic setups. The presets cannot be overwritten, but the remaining 990 scenes (010 ~ 999) are available to store original setups.
