Equipment information

Yamaha PM-2000 Mixer
Manufacturer:
Model:
PM-2000
Date:
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Description:
Mixing Console

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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.

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User Manual
Manual Type:
User Manual
Pages:
42
Size:
7.12 Mbytes (7465510 Bytes)
Language:
english
Revision:
Manual-ID:
Date:
Quality:
Scanned document, all readable.
Upload date:
26 October 2017
MD5:
28996b58d468671b476c230f5b52509c
Downloads:
321

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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

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