Equipment information

Yamaha PM-2000 Mixer
Manufacturer:
Yamaha
Model: PM-2000
Date:
Category: Professional music equipment
Group: Mixer
Description: Mixing Console
Information:
                                    PM-2000 MIXING CONSOLE

In 1974 Yamaha set new standards of excellence for sound
reinforcement with the introduction of our first PM-1000
mixing console. Since then, PM-lOOO’s have been used by
virtually every major sound company, and praised by top
artists around the world. PM-1000 consoles enjoy a
well-earned reputation for reliably delivering the sound and
mixing flexibility necessary in today’s creative performances.

We were pleased by the success of our PM-1000, but viewed it
only as a beginning. The need for an even more sophisticated
Yamaha console became apparent, so for the last 5 years we
surveyed the professional sound community in depth, learning
which features are considered most important. At the same
time, new circuits were devised, circuits capable of even
better performance than the already-respectable PM-1000.

Every detail, including panel layout and cabinetry, received
careful scrutiny. The goal was nothing less than a total
mixing system, one suitable for concert sound reinforcement,
theatrical or broadcast production, and recording — it would
become known as the PM-2000 mixing console.

We subjected the PM-2000 to an extended program of rigorous
laboratory and field testing, calling upon top experts in
every facet of the U.S. audio industry to evaluate
prototypes and work out improved designs.

When prototype consoles satisfied the most stringent
criteria on the lab bench and in studio evaluations, we sent
them out on numerous national and international tours for
“hands-on” evaluation. Here PM-2000’s received a two year
shake-down, the most valid of field tests. Yamaha’s stress
on “real world” research and development was an expensive
but worthwhile investment that had a major impact on the new
console’s character. It was a very special kind of R&D which
relied upon close communication with the touring soundmen
and engineers. We took the opportunity to discover any
latent difficulties (“if only they’d have ...”) in time to
avoid them. You showed us what was needed. We supplied the
intense research and the in-depth resources to make it
happen — the Yamaha PM-2000!

When you sit down to mix on a PM-2000 it commands your
respect. Yet for all its complexity and sophistication,
you’ll find the console’s layout uncluttered and its
functions self-explanatory; mixing with a PM-2000 comes
naturally. The PM-2000 somehow imparts immediate confidence
to any operator, and comfortable familiarity to anyone who
already knows the PM-1000. Controls are well marked,
sensibly organized, and perfectly damped to respond to your
most subtle touch.

Before long, you become aware of a very special feeling. It
is a feeling of elegance, of authority, of control. As your
eyes scan this impressive mixing console, you see banks of
large VU meters glowing clearly above anti-glare black
panels that are punctuated by color-coded knobs, illuminated
channel-ON switches, and the occasional red flash of an
input’s LED peak indicator. Every so often an LED lights up
in an otherwise tame output VU meter, warning that the
instantaneous level is approaching a clip, but with +24dBm
output capability the console is seldom driven to its
maximum. You wonder what it is about the PM-2000 that gives
you a rush of enthusiasm. Could it be the rich rosewood
housing? Or is it simply that everything you need is at your
fingertips, beckoning to your creative instincts? Whatever
the reason, you understand why this console is in a class by
itself.

No, you are not beguiled. The PM-2000 is the ultimate tool
for creative audio mixing. Whether you choose the compact 24
input mainframe, or the 32 input version, you get 14 mixing
buses, 4-knob 20-frequency equalizers, switchable pre/post
take-off for effects and monitor sends, interstage patching,
headphone cue and talkback systems, a combination
oscillator/pink noise source, and more. Much more, in fact,
because each of these features is extraordinary by itself.

Take the equalizer, for, example. Four knobs each provide
15dB of boost or cut at 5 frequencies, a total of 20
frequencies in overlapping ranges. The LOW and HIGH EQ
ranges have shelving curves for broad tonal corrections,
while the LOW-MID and HIGH-MID ranges offer peaking
characteristics for more exacting manipulation of the
program. The controls are center-detented so it’s easy to
return to a “flat” setting, and are center-tapped so “flat”
is absolutely flat. Of course, an EQ IN/OUT switch
facilitates A-B comparisons or fast changes in tonal
balance. The equalizer is an active design with precision
R-C networks and operational amplifiers. We also provide a
separate 18dB/octave High Pass Filter with 40Hz and 80Hz
positions, so you don’t have to use the equalizer to
eliminate unused low frequencies or avoid problem sounds
like wind noise, stage rumble, dropped mics, vocal P-pops, etc.

Of the 14 mixing busses, 8 are designated for main program
mixing, 4 for foldback (stage monitoring), and 2 for
echo/effects sends. Each bus has its own master control,
making it easy to pre-mix different “scenes,” to instantly
move from one type of mix to another, or to quickly
re-balance sub-groups of instruments, vocals and effects. In
addition to all this, the PM-2000 has a unique mix matrix.

The matrix allows the 14 mixing busses, plus auxiliary
inputs, to be combined into 8 discrete mixes. Each of the 8
matrix mixes has its own master control, channel ON/OFF
switch, and appears at a direct console output. You can use
the main program outputs to make a “dry” tape recording,
while feeding the sound reinforcement system with the matrix
output; any desired effects can be introduced to the matrix
via its auxiliary inputs. The matrix can save a tremendous
amount of time and effort when you want to set up individual
stage monitor mixes, feed different speaker mixes to various
zones of the house, feed local and remote programs
simultaneously, monitor in stereo during multi-channel
recording, etc. — all this, with no need for special
patching or outboard submixers.

The PM-2000 is built with only the finest components,
including low-noise mic preamps and accurate faders.
Electronically, all circuitry is designed for low noise, low
distortion and maximum stability; residual output noise is
below —90dBm, and even at full +24dBm output level, the IM
and harmonic distortion remain unmeasurable on all but the
most sensitive equipment. Unwanted hum (and heat) are
excluded by using a remote power supply, linked to the,
PM-2000 by a detachable “umbilical cord.” Not only is the
console quiet internally, it also rejects external noise.
Balanced or floating inputs and outputs block common-mode
noise, while extensive shielding and bypassing provide
immunity to RFI (radio frequency interference).

That the PM-2000 is a genuine value, a shining example of
modern electronic and mechanical design, is no accident. It
is the direct result of Yamaha’s experience in building
thousands of professional mixers and consoles, as well as
power amplifiers, electronic crossovers, speaker systems,
etc. The PM-2000 is perhaps even more of a
value due to Yamaha’s diverse, worldwide manufacturing
resources: lumber mills (for wood cabinetry), foundries (for
metal parts), and semiconductor factories (for transistors
and IC chips). Because the unit is one of the most reliable
products on the market, is a state-of-the-art design, and is
backed by Yamaha, the PM-2000 will retain its value for
years. Thus, when you buy a PM-2000, you are making a good
investment — in terms of resale value, day-to-day
performance, and the satisfaction that comes from owning the
ultimate mixing console.

These manuals are available for the above equipment:

Manual Type: User Manual Yamaha-9779-Manual-Page-1-Picture
Pages: 42
Size: 7.12 Mbytes (7465510 Bytes)
Language: english
Revision:
Manual-ID/Number:
Date:
Quality: Scanned document, all readable.
Upload date:
MD5: 28996b58d468671b476c230f5b52509c
Downloads: 17 since 26 October 2017
Information:
INTRODUCTION......................................1

INPUT
MODULE..............................................................3

MASTER MODULE . .
.....................................................4

FOLDBACK/PHONE MODULE.......................,.. .	5

EFFECTS MODULE...........................'. .	5

TALKBACK
MODULE..................................................6

MIX MATRIX......................... ......7

REAR PANEL..............................................8

POWER SUPPLY............................. .	9

METER PANEL..................................................9

SPECIFICATIONS..............................10

GENERAL................................10

INPUT CHARACTERISTICS..........................12

OUTPUT CHARACTERISTICS..........................12

INSTALLATION . . . ...............................13

POWER MAINS ..............................13

THEORY OF GROUNDING........................... . .	13

INTERCONNECTIONS............................14

PADS, TRANSFORMERS & DIRECT BOXES.....................15

DYNAMIC RANGE .............................19

OPERATING LEVELS............................20

GAIN OVERLAP & HEADROOM.........................21

CALCULATING & USING GAIN OVERLAP.....................21

INTERFACE WITH CREATIVE AUDIO EQUIPMENT......................22

ADDING AN ADDITIONAL 10dB OF GAIN TO THE PM-2000 OUTPUT
STAGES........22

APPENDIX.................................23

MAINTENANCE ..............................23

TRAVEL CASE...............................25

APPLICATIONS ..............................26

CONCERT SOUND REINFORCEMENT...........................26

STAGE MONITORING............................30

TELEVISION SHOW PRODUCTION........................32

TELEVISION REMOTE PRODUCTION.......................34

THEATRICAL PRODUCTION......................... .	36

RECORDING & MIXDOWN...........................38

BLOCK DIAGRAM..........1....................40
Yamaha-9779-Manual-Page-1-Picture


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