Yamaha PM4000 Mezclador
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Modelo:
PM4000
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Descripción:
professional audio mixing console

Información

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. The console now comes with both mono and stereo input modules, and you can determine the complement of each type of module in your unit at the time you order it, or you can later swap modules in the field (between shows if need be). The console is available with 24, 32, 40 or 48 input positions (24 channel versions are available in the U.S.A. only on special order). However, if fully configured with stereo input modules, the actual number of input sources is substantially higher (the mix of mono and stereo modules can add up to no more than 64 input channels per mainframe, as limited by power supply capacity). There are eight VCA (Voltage Controlled Amplifier) Master Faders which can be assigned to control any combination of input channels (see Section 7 for a discussion of VCAs). In addition, there are eight group mixing busses, as well as a stereo mixing bus, to which any of the input channels can be assigned. There are also eight monaural auxiliary mixing busses and two pair of stereo auxiliary mixing busses to which each input channel may be assigned by means of sealed PRE/OFF/POST switches and Send Level controls. The stereo aux busses may be switched to dual mono busses, for a total of twelve busses that can be used to augment the eight groups plus the stereo bus for a total of 22 audio mixing busses, or they may be used for a combination of foldback send (stage monitor), effects send and remote mixes. Input channel signals may be assigned directly to the stereo bus, or assignment can be made via the Group Masters. Thus, the console can function in a sub- grouped mode with a stereo "grand master" fader, or it can function with independent stereo and multi-channel output mixes. The PM4000 inputs are differentially balanced, and are equipped with a 30 dB attenuation PAD plus a continuously variable 50 dB range GAIN trim control so that literally any mic or line level signal can be accommodated with channel faders set at nominal level. Optional input transformers may be installed internally on a channel-by-channel basis when extra grounding isolation is required. While the console has ample headroom throughout, it is always possible to incorrectly set controls. For this reason, the PM4000 is equipped with level detection at several stages. Input LED meters and "PEAK" LEDs are provided. The latter not only monitor the input preamp level, they check for overboost in the EQ section. too. Metering can be front- panel switched to pre or post fader (actually, pre/post VCA). Finally, if the mixed levels on the group, auxiliary, stereo, matrix or cue busses adds up to be too high, a “PEAK” LED in the output meters will flash on to warn of the impending danger of clipping. Naturally, the PM4000 is equipped with a Mix Matrix, the feature Yamaha pioneered in professional audio consoles. The PM4000 Mix Matrix is an 11x8 configuration. That is, there are 11 possible sources that can be mixed together into one output. Those 11 sources can be mixed together eight different ways on eight different modules. Each matrix channel accepts a direct sub input from a rear panel connector, plus signals from the stereo bus (L&R) and the eight subgroups (pre or post master fader, depending on internal preset switches). These 11 sources all go through a MATRIX MASTER control and an on/off switch to a discrete rear panel output. The matrix can save a tremendous amount of time and effort when you want to set up stage monitor mixes from the subgroups, when you want to create different Speaker mixes for different zones of the house, to feed local and remote programs simultaneously, to make mono and stereo mixes from the same subgroups, and so on. In fact, if the matrix is set to pick up the subgroups ahead of the Group Master Faders, then the subgroups can be mixed onto the stereo bus with one mix, and completely independent mono or stereo mixes can be achieved from the same subgroups via the matrix. The PM4000 has a VCA grouping system which is separate from the audio grouping. Eight "VCA GROUP" switches next to each channel fader enable that channel to be assigned so it is controlled by one or more of the VCA Master Faders. When multiple input channels are assigned to a given VCA bus, those channels output levels can be raised or lowered by the single VCA Master Fader. Consider how this differs from the conventional groups. When multiple input channels are assigned to one of the eight group (audio) mixing busses, those channels’ combined signals can be raised or lowered in level with the Group Master Fader. The audio result is the same as though the VCA Masters were used... with one exception; if signal processing of multiple inputs is required, it is necessary to run that 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. Because the VCA Master levels are voltage controlled, the PM4000 can be automated, at least to the extent of controlling group levels. A rear panel multi-pin connector can be used for this purpose. These VCAs are sonically improved, and to insure reliable operation, all bus, VCA group, and mute group assignments are via proven latching switches; Yamaha has avoided C-MOS switching and “glue-logic” for these vital functions. The MASTER MUTE function facilitates scene changes and complex cues. Each input channel has eight MUTE assign switches. These permit the channel’s on/off function to be remotely controlled by the eight MASTER MUTE switches. Once a channel is switched on locally, it can be muted (turned off) or unmuted (turned on) if it is assigned to one or more of the mute groups. This permits multiple channels to be silenced or activated all at once, which expedites live sound mixing, band personnel or instrument changes, theatrical scene changes, and so forth. If, however, it is imperative that a certain channel never be inadvertently muted, or that muting temporarily be overridden, the input channel’s MUTE SAFE switch can be engaged. Muting can also be controlled remotely, via a rear panel connector, so automation here, too, is possible. In addition to the master muting function, the VCA master faders have mute switches which mute the corresponding VCA group (or at least prevent the master from altering input levels); this provides another, different layer of master control of levels to facilitate tracking program changes with the mix. In recognition of the increasing trend toward full-function auxiliary return, the PM4000 relies upon full-capability input modules for aux returns. That's why the console is available with up to 48 input channels, including stereo inputs. For added flexibility, the INSERT in jack(s) on any input module can be used for aux return purposes, and then the channels INSERT ON switch can pick up the aux return instead of any signal which may remain connected to the main channel input(s). This allows a given channel to perform different functions at different times without patching cables. An excellent feature of the PM4000 is its extensive cue and solo capability. There is a CUE/SOLO switch on every input channel and on the aux returns, and a CUE switch on every auxiliary send, the group outputs, the matrix outputs and the 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. This capability is great for troubleshooting, previewing a channel before applying it to the mix, or “touching up” the EQ on a channel during a performance. For use ahead of a live show, the console may be placed in solo mode. In this mode, only the input channel(s) whose CUE/SOLO switch is engaged will feed the console’s outputs, and all other input channels will be muted. If the stereo input modules are used for returns, recessed switches in these modules can be set so returns will not be muted and any effects applicable to the soloed input will be heard. Annunciator lights signal the operator whether the console is in solo or cue mode, and whether any CUE or CUE/SOLO switch is engaged. Two head- phone jacks enable a pair of console operators (or an engineer and producer) to work side-by side on complex projects. The PM4000 has an excellent talkback system plus a useful test oscillator. An XLR input (with phantom power) can be set to accept any Microphone or line level input, and is activated with the TALKBACK switch. That signal can be slated to any of the eight group mixing busses, the eight aux send mixing busses, the two stereo aux busses, the stereo mixing bus, and to a rear panel XLR TB output. The test oscillator can be set to 100 Hz, 1 kHz or 10 kHz fixed frequencies, or can be swept from 0.2 to 2x the set frequency, and its output level is adjustable. Pink noise may be selected, too. The oscillator can be slated to the same busses as the talkback, and also has its own rear panel output connector so the signal can be routed to other equipment or other console inputs for testing. Extensive metering is provided with a total of 14 VU meters on the 24 and 32 channel versions, or 18 VU meters on the 40 and 48 channel versions (each with a peak LED). Several of these meters can be switched to monitor alternate busses, so the metering gives you a comprehensive view of signal levels in your system. PM4000 electronic performance is everything you’d expect from the people who developed the PM3000. It is even more advanced, with lower noise levels than ever. Wide headroom throughout, exceptionally low distortion, and quiet controls are the hallmark of this top quality mixing console. The specifications are honest and conservative. The performance is audibly superb. Physically, the PM4000 is as appealing as it is electronically. An all new chassis design with aircraft- style bracing offers increased strength to sustain repeated trips on the road. A gray finish and subtly color coded controls set the backdrop for the PM4000’s hundreds of illuminated switches and indicators. Multiple rear-mounted cooling fans reduce internal temperatures to prolong component life.* The highly advanced PM4000 with its many internally switchable functions, is as close to a custom console as you can get... while retaining all the value and reliability of an off-the-shelf Yamaha console. While its numerous internal and front panel functions may at first intimidate the casual console operator, the PM4000 is actually a very straightforward console to use. Anyone who has used the PM3000, or even a PM2000, should immediately feel comfortable with the PM4000, Take a while to study the panel, read the descriptions in this manual, and you’ll find operating this console is very natural... and satisfying because you can make it do the job the way you need it done.

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Manual del usuario
Type manuel:
Manual del usuario
Páginas:
132
Tamaño:
5.40 Mbytes (5660881 Bytes)
Idioma:
english
Revisión:
Manuel-ID:
Fecha:
Formato:
Documento electrónico, sin análisis, muy bien legible.
Fecha de subida:
2017 10 29
MD5:
b52c47b185b887d2813d2a347cdb9375
Descargas:
925

Información

Section 1. Introduction Section 2. Brief Operating Instructions 2-1 2.1 PM4000 Front Panel Features 2-1 2.1.1 The Standard Monaural Input Module 2-7 2.1.2 The Stereo Input Module 2-12 2.1.3 The Master Module (1 - 8) 2-17 2.1.4 The Stereo Master Module 2-19 2.1.5 The TB (Talkback) Module 2-22 2.1.6 The Monitor Module 2-25 2.1.7 The Meter Bridge 2-27 2.2 PM4000 Rear Panel Features 2-34 2.4 The PW4000 Power Supply Section 3. Specifications 3-1 PM4000 Mixing Console General Specifications 3-2 PW4000 Power Supply Specifications 3-3 PM4000 Input Characteristics 3-3 PM4000 Output Characteristics 3-4 Dimensional Drawings 3-7 Block Diagrams Section 4. Installation Notes 4-1 4.1 Planning An Installation 4-1 4.2 Power Mains 4-1 4.2.1 Verify The Correct Mains Voltage 4-1 4.2.2 Ensure There is a Good Earth Ground 4-2 4.2.3 How To Obtain a Safety Ground When Using a 2-wire Outlet 4-3 4.2.4 Improperly Wired AC Outlets: Lifted Grounds 4-3 4.2.5 Improperly Wired AC Outlets: Lifted Neutral 4-4 4.2.6 AC Safety Tips 4-4 4.2.7 Power Source Integrity 4-4 4.2.8 Turn-On Sequencing 4-5 4.3 Theory of Grounding 4-5 4.3.1 Why Is Proper Grounding Important? 4-6 4.3.2 Ground Loops 4-7 4.3.3 Basic Grounding Techniques 4-8 4.3.4 Balanced Lines and Ground Lift Switches 4-9 4.4 Audio Connectors and Cables 4-10 4.4.1 Types of Cable To Use 4-10 4.4.2 Cable Layout 4-10 4.4.3 Balanced versus Unbalanced Wiring 4-13 4.4.4 The Pro’s And Con’s of Input Transformers 4-14 4.4.5 Noise And Losses In Low and High Impedance Lines 4-15 4.5 Direct Boxes Page Sect. Title 4-15 4.5.1 Passive Guitar Direct Box 4-17 4.5.2 Active Guitar Direct Box 4-17 4.6 Configuring Equipment Racks Section 5. Gain Structure and Levels 5-1 5.1 Standard Operating Levels 5-2 5.2 Dynamic Range and Headroom 5-2 5.2.1 What Is Dynamic Range? 5-2 5.2.2 The Relationship Between Sound Levels and Signal Levels 5-2 5.2.3 A Discussion Of Headroom 5-2 5.2.4 What Happens When The Program Source Has Wider Dynamics Than The Sound Equipment? 5-4 5.2.5 A General Approach To Setting Levels In a Sound System 5-4 5.2.6 How To Select a Headroom Value and Adjust Levels Accordingly 5-6 5.3 Gain Overlap And Headroom Section 6. Optional Functions 6-2 6.1 Removing and Installing A Module 6-3 6.2 Mono Input Direct Out Jack: Pre-Fader or Post-Fader (switch) Pre-ON or Post-ON Switch (jumper) 6-4 6.3 Mono Input Aux Sends: Pre Fader & EQ or Pre Fader/post EQ 6-5 6.4 Mono Input Cue/Solo Switch: Pre-Fader or Follow MT PRE Switch 6-6 6.5 Stereo Input Cue/Solo Switch: Pre-Fader or Follow MT PRE Switch 6-7 6.6 Mono & Stereo Input Channel MT PRE Switch: Pre- or Post-ON Switch 6-8 6.7 Stereo Input Channel Insert In/Out Jacks: Pre-EQ or Post-EQ 6-9 6.8 Stereo Input Channel Aux Sends: Pre Fader & EQ or Pre Fader/Post EQ 6-10 6.9 Stereo Input Channel Aux Sends 1-8: L+R Blend or Stereo Pairs 6-11 6.10 Stereo Input Channel Stereo Aux Sends 1 & 2: L+R Blend or Stereo Pairs 6-12 6.11 Stereo Input Channel Feed to Monitor Module ST IN 3 or ST IN 4 6-13 6.12 Phase Switch Function: Change Polarity of Both L and R inputs, or of L Only 6-14 6.13 Stereo Input Module: Output Enable Jumpers to Group, Stereo and Aux Busses 6-15 6.14 Master Module: Group-to-Matrix Assigned Pre or Post Group Master Fader 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 7.1 Console Gain Structure 7-l 7.1.1 What Is The Proper Gain Structure? 7-1 7.1.2 What Affects Gain Structure? 7-1 7.1.3 Establishing The Correct Input Channel Settings 7-2 7.1.4 Establishing The Correct Group Master Settings 7-2 7.1.5 Establishing The Correct Aux Send Master Settings 7-2 7.1.6 Establishing The Correct Mix Matrix Settings 7-3 7.1.7 Establishing The Correct Aux Return Settings 7-3 7.1.8 How VCA Control Affects Gain Structure 7-4 7.1.9 Channel Muting and Gain Structure 7-4 7 . 2 F u r t h e r H i n t s & C o n c e p t u a l N o t e s 7-4 7.2.1 What Is a VCA, and Why Is It Used? 7-4 7.2.2 The Distinction Between The Group Busses and The VCA Master “Groups” 7-7 7.2.3 Using The Channel Insert In Jack as a Line Input 7-7 7.2.4 Understanding and Using The Mix Matrix 7-9 7.2.4.1 The Mix Matrix In General Sound Reinforcement 7-9 7.2.4.2 Using The Matrix Sub Inputs For Effects 7-9 7.2.4.3 Other Uses For The Matrix Sub Inputs 7-10 7.2.4.4 Use of the Matrix to Pre-Mix Scenes 7-10 7.2.5 Understanding and Use of The Master Mute Function 7-12 7.2.6 Stereo Panning To the Eight Group Mixing Busses Page Sect. Title Section 8. Applications 8-1 8.l General 8-1 8.1.1 Theatre 8-1 8.1.2 Production 8-2 8.1.3 Post Production 8-2 8.1.4 Video 8-3 8.1.5 Sound Reinforcement 8-3 8.2 Setup Concepts 8-3 8.2.1 Deriving A Stereo Mix From Groups 1 - 8 8-4 8.2.2 The Mix Matrix Allows the 8 Groups Plus the Stereo Bus to Function as 10 Subgroups 8-4 8.2.3 How To Get 5 Independent Stereo Mixes or 10 Mono Mixes by Using the Stereo Bus Plus the Mix Matrix 8-6 8.2.4 How to Use the VCA Masters Plus the Group Master Faders to Obtain the Functional Equivalent of 16 Subgroups 8-7 8.2.5 Using More Than One VCA Master to Control the Same Input Channels In Order To Handle Overlapping Scenes Section 9. Maintenance 9-l 9-1 9-1 9-1 9-1 9-2 9-2 9-3 9.1 Cleaning The Console 9.1.1 The Console and Power Supply Exterior 9.1.2 Power Supply Air Filters 9.1.3 Pots And Faders 9.1.4 The Console Interior 9.2 Meter Lamp Replacement 9.3 Where To Check If There Is No Output 9.4 What To Do In Case of Trouble

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