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PROFESSIONAL AUDIO MIXING CONSOLE
PM4000
OPERATING MANUAL
YAMAHA
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PM4000 OPERATING MANUAL
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IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING : THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: : EARTH BLUE : : BROWN As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or letter N or colour
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Particularly important information is distin- How to Use This Manual guished in this manual by the following notations: If you are an engineer or technician who is familiar with sound system design, much of this manual will NOTE: A NOTE provides key information to serve as a review for you. The basic features are make procedures or functions clearer or easier. presented in the “BRIEF OPERATING INSTRUC- CAUTION: A CAUTION indicates TIONS” section. Check this and the “SPECIFICA- special procedures
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Table of Contents Page Sect. Title Page 4-15 4.5.1 Passive Guitar Direct Box Section 1. Introduction 4-17 4.5.2 Active Guitar Direct Box 4-17 4.6 Configuring Equipment Racks Section 2. Brief Operating Instructions 2-1 2.1 PM4000 Front Panel Features Section 5. Gain Structure and Levels 2-1 2.1.1 The Standard Monaural Input Module 5-1 5.1 Standard Operating Levels 2-7 2.1.2 The Stereo Input Module 5-2 5.2 Dynamic Range and Headroom 2-12 5-2 5.2.1 What Is Dynamic Range? 2-17 2.1.4 The Stereo Mas
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Page Sect. Title Page Sect. Title 6-16 6.15 Stereo Master to Matrix ST Bus: Pre or Post Section 8. Applications ST Master Fader 8-1 8.l General 6-17 6.16 Installation of Optional Input Transformers 8.1.1 Theatre 8-1 6-18 6.15 Hints on Circuitry For Remote Control of 8.1.2 Production 8-1 the VCA Masters and Mute Groups 8-2 8.1.3 Post Production 8-2 8.1.4 Video Section 7. Operating Notes and Hints 8.1.5 Sound Reinforcement 8-3 7-1 7.1 Console Gain Structure 8-3 8.2 Setup Concepts 7-l 7.1.1 What Is
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Section 1 Introduction
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Section 1. rectly set controls. For this reason, the PM4000 is The PM4000 is a professional audio mixing console equipped with level detection at several stages. Input with the kind of flexibility, performance and reliability LED meters and "PEAK" LEDs are provided. The latter for which Yamaha has earned a worldwide reputation. not only monitor the input preamp level, they check for It picks up where the famous PM3000 left off, with still overboost in the EQ section. too. Metering can be front-
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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 Mas
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PM4000 electronic performance is everything you’d stereo master output. Cue replaces the signal in the headphones and the stereo cue XLR outputs with only expect from the people who developed the PM3000. It is those sources whose CUE switches are engaged. even more advanced, with lower noise levels than ever. Wide headroom throughout, exceptionally low distor- The CUE system has input priority so that the tion, and quiet controls are the hallmark of this top operator may normally monitor the cue
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Section 2 Brief Operating Instruction
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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. For example, feature [4] is the 48V phantom power switch in both the monaural and the stereo input module
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clipping, and should therefore flash on only TOM POWER switch is on. An LED in the switch occasionally. turns on when phantom power is being applied to the channel input connector. This indicator measures signal from the XLR or from the INSERT IN jack, whichever is active, as When both the Master and this switch are on, well as after the equalizer. If necessary, use the +48 volts is applied to both pins 2 & 3 of the PAD or decrease the GAIN setting to prevent the channel input XLR connector for
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NOTE: PM3000 users will notice there is no EQ CLIP indicator. Clipping at this stage can occur even though The outer concentric knob sweeps the EQ Fre- the input signal is not clipping, due to boost (gain) quency between 1,000 and 20,000 Hz. applied with the EQ circuitry. In the PM4000, clipping -15 ~ +15 dB in the equalizer is detected and shown on the PEAK The inner concentric knob adjusts the gain of the indicator [7] adjacent to the GAIN control. set frequency band by plus or minus 15 dB. A
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iary mixing bus. When the switch is in the center (OFF) position, no signal is applied to the auxil- iary bus. NOTE: In some applications, it is preferable to have the PRE position be Pre-Fader & Post-EQ rather than Pre- Fader & 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. Refer to the OPTION
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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 p
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switch is illuminated when the channel is being prevents the channel from being muted. Engag- cue’d or soloed. Although the cue signal is not ing this switch ensures the channel will always affected by the Fader or ON/off switch, it is be on so long as the channel ON switch is also affected by the Input PAD, GAIN control, Filter, engaged. channel EQ, and anything connected between the 25. FADER channel’s INSERT IN and OUT jacks (if the This long-throw fader sets the level applied to the INSERT s
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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 main- frame 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. The signal is assigned as follows: the left
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NOTE: The console’s microphone power supply is not input is available at odd-numbered busses, and intended for A-B powered microphones. External sup- the right input at even numbered busses (and, of plies may be used with these devices, in which case the course, L&R in are available to the L&R stereo console’s phantom power should be turned OFF on the bus). In L position, the right input is deactivated, appropriate channels. The optional input transformers, and the left input connector is availa
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1 ~ 20 kHz This indicators measure signal from the XLRs or from the INSERT IN jacks, whichever are active, The outer concentric knob sweeps the EQ Fre- as well as after the equalizer. If necessary, use quency between 1,000 and 20,000 Hz. the PAD or decrease the GAIN setting to prevent -15 ~ +15 dB the LEDs from remaining on any longer than The inner concentric knob adjusts the gain of the momentarily; otherwise excessive distortion and set frequency band by plus or minus 15 dB. A insufficient fa
