Yamaha PM4000 - User Manual

Table of Contents Page Sect. Title Section 1. IntroductionSection 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 Module2-19 2.1.5 The ...

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 greate...

This locking switch assigns the channel output directly to the stereo bus. An LED in the switch turns on when the signal is assigned to the stereo bus. If you want the cleanest, quietest stereo mix, create it by assigning inputs directly to the stereo bus with this switch rather than running signal ...

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 power- ing of condenser microphones. Althoug...

Figure 2-1b. PM4000 Standard Input Module (middle portion of module) NOTE: A signal processor (effects device) can be set up before it is needed, its levels adjusted using the always active INSERT OUT signal, and then the processor can be inserted on cue in the channel’s signal path by pressing this...

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...

2 . 1 . 2 . T h e S t e r e o I n p u t M o d u l e 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 main- frame is completely interchangeable with th...

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. Engag- ing the M...

Figure 2-3a. PM4000 Master Module (matrix section of module) 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...

Figure 2-3b. PM4000 Master Module (aux send and group sections of module) 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) repla...

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 an input CUE ...

Figure 2-3c. PM4000 Master Module (VCA master section of module) VCA SECTION 46. VCA MUTE Engaging this switch is the equivalent of setting the VCA master fader at maximum kill. The switch is illuminated when the master fader is muted. This affects all input channels assigned to the correspondingly ...

2.1.6 The Monitor Module 77. SOLO MODE (switch) Figure 2-6a. PM4000 Monitor Module (upper portion of module) Page 2-22 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 oth...

96. II (Group/Matrix/Aux meters and indicators) 97. ST L, ST R (Stereo output meters) 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...

2.2 PM4000 Rear Panel Features 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 ...

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 patc...

PIN Nº 1 234 5 6 7 89 10 1 112 CONNECTOR PINS (FEMALE) FUNCTION PIN Nº FUNCTIONVCA EXT 1 1 3 MUTE EXT 3 VCAEXT 2 1 4 MUTE EXT 4 VCA EXT 3 15 MUTE EXT 5 VCA EXT 4 1 6 MUTE EXT 6VCA EXT 5 1 7 MUTE EXT 7 VCA EXT 6 18 MUTE EXT 8 VCA EXT 7 1 9 GNDVCA EXT 8 2 0 GND GND 2 1 G N D N C 22 INPUT CUE EXT MUTE ...

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 o...

Section 3. Specifications PM4000 Mixing Console General Specifications Total Harmonic Distortion <0.1% (THD+N) 20 Hz - 20 kHz @ +14 dBu, 600Ω (Master Output) <0.01% (2nd - 10th harmonics) 20 Hz - 20 kHz @ +14 dBu, 600Ω Frequency Response (Master Output) 0 ± 1/3 dB 20 Hz - 20 kHz @ +4 dBu, 600Ω...

VU Meters (0 VU = +4 dBu output) 24 or 32 channel consoles 40 or 48 channel consoles VU Meter Peak Indicators Phantom Power Dimensions(W x H x D) Weight 48 Channel 2086 x 346 x 1121 mm 4 0 Channel 1846 x 346 x 1121 mm3 2 Channel 1586 x 346 x 1121 mm24 Channel 1346 x 346 x 1121 mm4 8 Channel 183 kg 4...

INPUT CHARACTERlSTlCS Connection P A D Gain Trim Actual load Impedance 0 CH IN 1 ~ [ch (*1) -70 3 0 ST CH IN 1 ~ 4ch 0 30 -20 SUB IN GROUP (1 ~ 8) STEREO (L, R) AUX (1 ~ 8) AUX ST1, 2 (L, R) CUE (L, R) MTRIX (1 ~ 8) TALKBACK IN -50 +4 INSERT IN CH 1 ~ [ch (*1) ST CH 1 ~ 4chGROUP (1 ~ 8)STEREO (L, R)...

Dimensional Drawings PM4000 Console (all versions) Page 3-4

Module Block Diagrams (See back of the manual for overall system block diagram) Page 3-7

Section 4. Installation Notes 4.1 Planning An Installation 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. To begin with, there must be a surface upon which the console can be mou...

Figure 4-2. Testing a 2-wire AC Outlet and a 3-Prong to 2-Prong Adaptor 4.2.4 Improperly Wired AC Outlets: Lifted Grounds A "lifted ground" condition exists if the ground or If you detect any voltage between the larger slot (white wire) in an outlet and the ground-terminal (round prong, gree...

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 some- thing to do with hum and noise suppression, but few people know how to...

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-c...

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 se...

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 o...

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. Page 4-11

Figure 4-13. Cables For Use With Balanced Sources Page 4-12

designed to recognize only the difference in voltage between the two wires, and (hence the term “balanced differential input”). Should any electrostatic interfer- ence or noise cut across a balanced cable, the noise voltage will appear equally - with the same polarity - on both signal-carrying wires...

where a transformer is desirable even if the input is electronically balanced. For example, where there is a signiftcant amount of electrostatic or electromagneti- cally induced noise, particularly high-frequency high- energy noise (the spikes from SCR dimmers, for ex- ample), the common mode reject...

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 in- ...

SECTION 5. GAIN STRUCTURE AND LEVELS Page 5-1 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,...

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 envi- ronment). The dynamic range of a system is equal to the difference between the peak...

Figure 5-1. Dynamic Range and Headroom in Sound Systems Page 5-3

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 nea...

dynamic range. Of course, another alternative is available: add more amplifiers and speakers so that the 5.3 Gain Overlap And Headroom desired headroom can be obtained while raising the As explained previously, the PM4000 can deliver average power level. +24 dBu output level, a level which exceeds t...

Section 6. Optional Functions The PM4000 is factory wired to suit what Yamaha engineers believe to be the greatest number of applica- tions. Yamaha recognizes, however, that there are certain functions which must be altered for certain specific applications. In designing the PM4000, a number of opti...

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). Th...

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 isset so that the Direct Out point is derived after the EQ and Fader (technically speaking, it com...

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 positi...

6.4 Mono Input Cue/Solo Switch: Pre- Fader or Follow MT PRE Switch so that the take-off point for the cue/solo signal tracks the signal feed to the channel’s LED level meter. In this way, the cue/solo feed will be post-fader (or post- As shipped from the factory, the mono input channel CUE/SOLO swit...

6.5 Stereo Input Cue/Solo Switch: Pre- Fader or Follow MT PRE Switch so that the take-off point for the cue/solo signal tracks the signal feed to the channel's LED level meter. In this way, the cue/solo feed will be post-fader (or post-VCA to As shipped from the factory, the stereo channel CUE/ be m...

6.8 Stereo Input Channel Aux Sends: switch is set to PRE position, the aux send is derived Pre Fader & EQ or ahead of the the fader and equalizer (but after the high Pre Fader/Post EQ pass filter). In situations where it is desirable to apply channel EQ to the send, the internal slide switch for...

6.9 Stereo Input Channel Aux Sends 1-8: L+R Blend or Stereo Pairs and right inputs to the channel. Moving the switch changes the signal take-off points so that the odd- numbered Aux Sends derive signal from the channel’s A single slide switch in each stereo input module left input path, and the even...

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 wi...

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...

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 Mast...

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 attenu- ation pads, is located on a small printed circuit board that “piggy b...

6.15 Hints on Circuitry For Remote Control of the VCA Mastersand 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...

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 Struc...

NOTE: Channels and outputs are selected at random in this illustration. The VCA Master Fader controls multiple input channels, and their outputs to all bus- ses (assuming Post-fader AUX sends). There is no single insert IN/OUT point that can process this VCA-controlled group of inputs, however. NOTE...

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 inpu...

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 ...

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 vide...

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-ba...

Figure 8-3. System Diagram For 5 Independent Stereo Output Mixes via the Stereo Bus and the Mix Matrix Page 8-5

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 ...

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 multi- set concert, to name a couple of examples, it may be necessary to mix the same input channels at different levels to suit changing stag...

Section 9. Maintenance 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 prac...

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....