Equipment information
Yamaha PM4000 Mixer
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Model:
PM4000
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Description:
professional audio mixing console
Information
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.
Manual Type:
User Manual
Pages:
132
Size:
5.40 Mbytes (5660881 Bytes)
Language:
english
Revision:
Manual-ID:
Date:
Quality:
Electronic document, no scan, very well readable.
Upload date:
2017 10 29
MD5:
b52c47b185b887d2813d2a347cdb9375
Downloads:
925
Information
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