Yamaha PM5000 Инструкция по применению

Owner's Manual

E

The above warning is located on the rear of the unit.

Explanation of Graphical Symbols

The lightning ﬂash with arrowhead symbol

within an equilateral triangle is intended to

alert the user to the presence of uninsulated

“dangerous voltage” within the product’s

enclosure that may be of sufﬁcient magnitude

to constitute a risk of electric shock to per-

sons.

The exclamation point within an equilateral

triangle is intended to alert the user to the

presence of important operating and mainte-

nance (servicing) instructions in the literature

accompanying the product.

IMPORTANT SAFETY INSTRUCTIONS

1 Read these instructions.

2Keep these instructions.

3 Heed all warnings.

4 Follow all instructions.

5 Do not use this apparatus near water.

6 Clean only with dry cloth.

7 Do not block any ventilation openings. Install

in accordance with the manufacturer’s instruc-

tions.

8 Do not install near any heat sources such as

radiators, heat registers, stoves, or other appa-

ratus (including ampliﬁers) that produce heat.

9 Do not defeat the safety purpose of the polar-

ized or grounding-type plug. A polarized plug

has two blades with one wider than the other. A

grounding type plug has two blades and a third

grounding prong. The wide blade or the third

prong are provided for your safety. If the pro-

vided plug does not ﬁt into your outlet, consult

an electrician for replacement of the obsolete

outlet.

10 Protect the power cord from being walked on

or pinched particularly at plugs, convenience

receptacles, and the point where they exit from

the apparatus.

11 Only use attachments/accessories speciﬁed by

the manufacturer.

12 Use only with the cart,

stand, tripod, bracket, or

table speciﬁed by the manu-

facturer, or sold with the

apparatus. When a cart is

used, use caution when

moving the cart/apparatus

combination to avoid injury

from tip-over.

13 Unplug this apparatus during lightning storms

or when unused for long periods of time.

14 Refer all servicing to qualiﬁed service person-

nel. Servicing is required when the apparatus

has been damaged in any way, such as power-

supply cord or plug is damaged, liquid has

been spilled or objects have fallen into the

apparatus, the apparatus has been exposed to

rain or moisture, does not operate normally, or

has been dropped.

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

WARNING

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,

DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from

electrical shock, short-circuiting, damages, ﬁre or other hazards. These precautions include, but are not limited

to, the following:

• Only use the voltage speciﬁed as correct for the device. The required

voltage is printed on the name plate of the PW5000.

• Use only the speciﬁed power supply PW5000.

• Do not place the power cord near heat sources such as heaters or radiators,

and do not excessively bend or otherwise damage the cord, place heavy

objects on it, or place it in a position where anyone could walk on, trip over,

or roll anything over it.

• Do not open the device or attempt to disassemble the internal parts or

modify them in any way. The device contains no user-serviceable parts. If it

should appear to be malfunctioning, discontinue use immediately and have

it inspected by qualiﬁed Yamaha service personnel.

• Do not expose the device to rain, use it near water or in damp or wet

conditions, or place containers on it containing liquids which might spill

into any openings.

• Never insert or remove an electric plug with wet hands.

• If the power cord or plug becomes frayed or damaged, or if there is a

sudden loss of sound during use of the device, or if any unusual smells or

smoke should appear to be caused by it, immediately turn off the power

switch, disconnect the electric plug from the outlet, and have the device

inspected by qualiﬁed Yamaha service personnel.

• If this device or the power supply should be dropped or damaged,

immediately turn off the power switch, disconnect the electric plug from the

outlet, and have the device inspected by qualiﬁed Yamaha service

personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or

damage to the device or other property. These precautions include, but are not limited to, the following:

• Remove the electric plug from the outlet when the device is not to be used

for extended periods of time, or during electrical storms.

• When removing the electric plug from the device or an outlet, always hold

the plug itself and not the cord. Pulling by the cord can damage it.

•Turn the unit ON or OFF using only the POWER switch on the power supply

PW5000. Turning the unit ON or OFF by plugging or unplugging the power

cord, using a switch on a power tap, a breaker switch, or similar external

means can result in damage.

• Do not turn the PW5000 POWER switch OFF and ON in rapid succession.

Doing so can result in excessive current ﬂow that can cause damage. Wait

at least 5 seconds before turning the POWER switch ON after it has been

turned OFF.

• When transporting or moving the device, always use six or more people.

• Before moving the device, remove all connected cables.

• Always remove the memory card before moving the console. Accidental

impact or shock during transport can damage the memory card and/or the

card reader unit.

•Avoid setting all equalizer controls and faders to their maximum.

Depending on the condition of the connected devices, doing so may cause

feedback and may damage the speakers.

• Do not expose the device to excessive dust or vibrations, or extreme cold

or heat (such as in direct sunlight, near a heater, or in a car during the day)

to prevent the possibility of panel disﬁguration or damage to the internal

components.

• Do not place the device in an unstable position where it might accidentally

fall over.

• Do not block the vents. This device has ventilation holes at the top/front/

rear to prevent the internal temperature from rising too high. In particular,

do not place the device on its side or upside down, or place it in any

poorly-ventilated location, such as a bookcase or closet.

• Do not use the device in the vicinity of a TV, radio, stereo equipment,

mobile phone, or other electric devices. Otherwise, the device, TV, or radio

may generate noise.

Power supply/Power cord

Do not open

Water warning

If you notice any abnormality

Power supply/Power cord Location

(5)-1 1/3

• Before connecting the device to other devices, turn off the power for all

devices. Before turning the power on or off for all devices, set all volume

levels to minimum.

• Do not insert your ﬁngers or hand in any gaps or openings on the device

(vents, etc.).

•Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into

any gaps or openings on the device (vents, etc.) If this happens, turn off

the power immediately and unplug the power cord from the AC outlet. Then

have the device inspected by qualiﬁed Yamaha service personnel.

• Do not use the device or headphones for a long period of time at a high or

uncomfortable volume level, since this can cause permanent hearing loss.

If you experience any hearing loss or ringing in the ears, consult a

physician.

• Do not rest your weight on the device or place heavy objects on it, and

avoid use excessive force on the buttons, switches or connectors.

• This device has a built-in backup battery. When you unplug the power cord

from the AC outlet, the internal data is retained. However, if the backup

battery fully discharges, this data will be lost. When the backup battery is

running low, the display indicates “LoBT(Low Battery).” In this case,

immediately save the data to a Memory Card (CompactFlash), then have

qualiﬁed Yamaha service personnel replace the backup battery.

XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).

Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the device, or data that is lost or destroyed.

Always turn the power off when the device is not in use.

The performance of components with moving contacts, such as switches, volume controls, connectors, and fans, deteriorates over time. Consult qualiﬁed Yamaha

service personnel about replacing defective components.

Connections

Handling caution

Backup battery

(5)-1 2/3

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og

type. Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batter-

ityp eller en ekvivalent typ som rekommenderas av apparat-

tillverkaren. Kassera använt batteri enligt fabrikantens

instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda

paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin.

Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

(lithium caution)

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij

op het moment dat u het apparaat ann het einde van de lev-

ensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

•For the removal of the battery at the moment of the disposal

at the end of the service life please consult your retailer or

Yamaha Service Center as follows:

Yamaha Music Nederland Service Center

Address : Kanaalweg 18-G, 3526 KL UTRECHT

Tel: 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small

chemical waste.

(lithium disposal)

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS

UNIT!

This product, when installed as indicated in the instruc-

tions contained in this manual, meets FCC requirements.

Modiﬁcations not expressly approved by Yamaha may void

your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accesso-

ries and/or another product use only high quality shielded

cables. Cable/s supplied with this product MUST be used.

Follow all installation instructions. Failure to follow instruc-

tions could void your FCC authorization to use this product

in the USA.

3. NOTE: This product has been tested and found to comply

with the requirements listed in FCC Regulations, Part 15

for Class “B” digital devices. Compliance with these

requirements provides a reasonable level of assurance

that your use of this product in a residential environment

will not result in harmful interference with other electronic

devices. This equipment generates/uses radio frequencies

and, if not installed and used according to the instructions

found in the users manual, may cause interference harmful

to the operation of other electronic devices. Compliance

with FCC regulations does not guarantee that interference

will not occur in all installations. If this product is found to

be the source of interference, which can be determined by

turning the unit “OFF” and “ON”, please try to eliminate the

problem by using one of the following measures:

Relocate either this product or the device that is being

affected by the interference.

Utilize power outlets that are on different branch (circuit

breaker or fuse) circuits or install AC line ﬁlter/s.

In the case of radio or TV interference, relocate/reorient

the antenna. If the antenna lead-in is 300 ohm ribbon lead,

change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory

results, please contact the local retailer authorized to dis-

tribute this type of product. If you can not locate the appro-

priate retailer, please contact Yamaha Corporation of

America, Electronic Service Division, 6600 Orangethorpe

Ave, Buena Park, CA90620

The above statements apply ONLY to those products dis-

tributed by Yamaha Corporation of America or its subsid-

iaries.

(5)-1 3/3

Foreword

6

Foreword

Thank you for choosing a Yamaha PM5000 Mixing Console. The PM5000 is the

proud successor to the highly acclaimed Yamaha PM4000, which became the

deﬁnitive sound reinforcement console of the preceding decade in terms of both

performance and features.

The PM5000 carries on the PM-series pedigree with unprecedented sound and

operability, while inheriting new digital control features from Yamaha’s top-line

PM1D digital console. In an era in which digital consoles are becoming the

mainstream, the PM5000 represents the peak of reﬁnement in analog sound

technology, with the added beneﬁts of digital control.

Please read this manual carefully before use to ensure that you beneﬁt from the

maximum performance and control capabilities that your PM5000 can deliver.

Also keep the manual safe but handy so you can refer to later.

Copying of the commercially available music data and/or digital audio ﬁles is strictly prohibited except for

your personal use.

* The illustrations and screen displays as shown in this Owner’s Manual are for instructional purposes

only, and may be different from the ones on your device.

* The company names and product names in this Owner’s Manual are the trademarks or registered

trademarks of their respective companies.

* CompactFlash is a registered trademark of SanDisk Corporation.

About This Manual

7

About This Manual

General Approach

Most of this manual is devoted to describing the features and functions of the various PM5000 modules.

Since the operational design of the PM5000 is based on familiar analog console principles, anyone who is

familiar with the PM4000 or similar consoles should be able to begin operating the PM5000 without

hesitation. New features and multi-module control operations will be described in column form.

The names of physical controls such as buttons and knobs will be shown in square brackets.

The manual is organized as follows:

■ PM5000 Overview (page 10)

The names and functions of the various sections of the console are broadly described in the context of

the console as a whole. Please read this section before continuing on to the details. This section

explains the console’s overall internal signal ﬂow and how it relates to external equipment.

■ The Sections and Modules (page 15)

Following the signal ﬂow from input to output, the individual features and functions of each section

and module are described individually.

■ Scene Memory Functions (page 51)

Operation of the PM5000 scene memory functions, including storage of panel settings and motor fader

operations, is described here.

■ Utility Functions (page 56)

This section describes operation of the utility functions relating to overall system setup and

communication with external equipment.

■ Appendix (page 84)

Options, plugs and connectors, and other information for general operation and maintenance.

References, hints, and additional information will be provided throughout the text where appropriate.

The PM5000 Models

The PM5000 series includes three basic models, as described below:

■ PM5000-52C (52 input channels/center master)

■ PM5000-36 (36 input channels/right master)

■ PM5000-28 (28 input channels/right master)

For each model the number following “PM5000” refers to the total number of mono and stereo input

channels. The only actual difference between models is the number of mono input modules. All other

modules and conﬁguration are the same. This manual applies to all three models.

8

Contents

Foreword 6

About This Manual 7

General Approach ....................................... 7

The PM5000 Models .................................... 7

PM5000 Overview 10

Panel Layout .............................................. 10

Top Panel ................................................... 10

Rear Panel .................................................. 12

Expansion: Connecting to

External Equipment .............. 14

Cascade ........................................................ 14

MIDI................................................................ 14

GPI (General Purpose Interface)................. 14

Input Channel Section 15

Mono and Stereo Input Modules .............. 15

Head Amp Block........................................... 15

HPF Block ..................................................... 16

EQ Block ....................................................... 16

Insert Block................................................... 17

Stereo Aux Send 1~12 Block ...................... 17

G/A (Group/Aux) Send 1~8 Block ............... 18

Main Out Block ............................................. 18

Channel Fader Block ................................... 20

Channel Grouping ..................................... 21

VCA Grouping .............................................. 21

Assigning VCA and Mute Groups............... 21

VCA Master and

Master Mute Switch Group Control ............ 24

Master Out Section 26

Multiple Masters In

Single Modules .......................................... 26

Basic Signal Routing................................. 27

Controls Common To All Masters............ 28

Stereo Aux Master Module ....................... 30

G/A (Group/Aux) Master Module .............. 31

Group/Aux Switching................................... 32

Stereo and Mono Master Modules ........... 34

Matrix Send and

Master Out Section 35

Matrix Send Section .................................. 35

Matrix Master Out Section ........................ 37

Oscillator and

Talkback Section 38

Oscillator/Talkback Signal Output ........... 39

9

Monitor Control Section 40

Monitor Source........................................... 40

The Monitor Outputs.................................. 41

Cue Signal Monitoring............................... 41

Solo Mode................................................... 44

Cue and Solo .................................................44

Basic Operation ............................................45

Meter Bridge ............................................... 47

Digital Control Section 49

Control Functions ...................................... 49

Scene Memory Functions ......................... 51

Overview ........................................................51

Fade Time ......................................................52

Scene Store ...................................................53

Scene Recall..................................................53

Title Edit........................................................54

The Preview Function...................................55

Utility Functions......................................... 56

Overview ........................................................56

Common Operations ....................................57

Basic Functions ............................................58

Battery Check ............................................58

Date/Time ..................................................59

CompactFlash Memory..............................59

Lock Mode .................................................61

Memory Protect .........................................62

Scene Edit .................................................62

Bus Mode.......................................................63

G/A Bus Mode ...........................................63

Stereo Matrix Mode ...................................64

Safety and Protection Functions.................65

Group Assign Safe.....................................65

G/A Bus Assign Safe .................................65

Recall Safe Select .....................................66

Solo Enable ...............................................66

Input Solo Safe ..........................................67

Monitor .......................................................... 67

Monitor Mode ............................................ 67

Monitor Delay............................................ 68

Master Cue AFL Position .......................... 69

Scene Recall ................................................. 69

Theater Mode............................................ 69

Fader Mode............................................... 70

Automation................................................ 70

Direct Recall/ Mute Master........................ 71

GPI ................................................................. 72

Scene Inc/Dec (GPI In) ............................. 72

GPI Out ..................................................... 72

Cascade ........................................................ 74

Cascade.................................................... 76

MIDI................................................................ 77

MIDI Program Change .............................. 80

MIDI Control Change ................................ 81

MIDI Setting .............................................. 81

MIDI Echo Back ........................................ 82

MIDI Program Change Table .................... 83

Appendix 84

Installing Options And

Changing Internal Switch Settings ...........84

Module Removal and Replacement............ 84

Input Transformer Installation .................... 86

Internal Switch Settings For

Each module................................................. 88

Connector Pin Assignments .....................92

PM5000 Self-diagnostic Function .............93

Initializing the Internal Memory .................. 93

Error Messages...........................................94

Troubleshooting .........................................95

Specifications .............................................96

1. General Specifications ............................ 96

2. Inputs/Outputs.......................................... 97

3. Others........................................................ 98

MIDI Data Format ........................................99

Index 102

PM5000 Overview

10

Panel Layout

The layout of the PM5000’s functional sections in the basic conﬁguration is shown below. In the PM5000-

52C the master output section is located in the center of the console, while in all other models it is located

to the right of the console.

Top Panel

PM5000 Overview

NOTE

In this manual the console’s main functional groups are referred to as “sections.” Each section further contains “blocks” of

functions. The basic hardware divisions are “modules.” For example, all of the console’s input modules make up the “input

channel section.” Each input channel is made up of an “EQ block,” a “fader block,” and others. In the PM5000 each input

channel is made up of two separate hardware components: an “input channel module” and a “fader module.”

PM5000-28

PM5000-52C

11

PM5000 Overview

1 Input Channel Section (page 15)

Two types of input channels are provided – mono and

stereo – but the basic block structure of each is the same.

After going through phantom power, input gain, phase

reversal, and high-pass ﬁlter stages, the audio signal

passes through a 4-band equalizer before it reaches the

channel fader. External processing gear can be inserted

into the channel signal path either before or after the EQ

block. The post-EQ signal can be sent to any or all of 12

stereo aux buses and 8 G/A (group/aux) buses. The audio

signal from the input channel can be assigned to the

stereo L&R bus and/or mono bus. On mono input

channels the signal can also be assigned to the stereo and

mono (center) buses in LCR mode. Up to 12 VCA

groups and 8 mute groups can be set for each channel’s

fader block. Furthermore, the channel on/off status,

master bus assign settings, grouping, and fader settings

can be stored in the console’s scene memory for instant

recall whenever required.

2 Master Output Section (page 26)

The master output section is further subdivided into

stereo aux master, G/A (group/aux) master, and stereo/

mono master sections. Each stereo aux master module

independently controls the signals from two adjacent

stereo aux buses (a total of 12 stereo aux buses).

Depending on the selected G/A bus mode, each G/A

master module can handle the signals from two adjacent

group/aux buses as up to 4 stereo pairs or 8 mono feeds.

The stereo and mono masters are integrated into a single

module, but are independent internally. The stereo and

mono masters receive the signals from the stereo and

mono buses, respectively, and send these signals to the

stereo and mono main outputs. Each master features a

SUB IN input and a [SUM GAIN] control for gain

adjustment. The on/off status of each master, as well as

bus assign and other settings can be stored in the

console’s scene memory.

3

Matrix Send and Master Out Section (page 35)

The matrix section is made up of 4 stereo and 8 mono

matrix mixes. The sends to the matrix mixes are all

derived from the master output section. The matrix input

section is located at the top of the master output section.

The signal from each master can be sent to a matrix bus

by turning the master’s [TO MATRIX] switch on and

using the matrix level controls to apply the signal to the

required matrix bus. The [SUB IN] control located next

to the stereo/mono master [SEND LEVEL] control

adjusts the level of the [MATRIX SUB IN L&R] signal

sent to each matrix bus.

The matrix output section is located to the right of the

matrix input section, and it is here that the ﬁnal matrix

bus output levels are set. The stereo matrix buses can be

switched to function as mono sends via a utility mode

function, in which case the summed L & R mono signal

is delivered via the L and R outputs. The on/off status of

the matrix outputs can be stored in the console’s scene

memory.

4 VCA Master Section (page 21)

The VCA section can be used to independently control

up to 12 VCA groups (VCA1 ~ VCA12) set up via the

fader blocks of each input channel. The VCA master

faders function as master faders for the corresponding

VCA groups, while the [VCA MUTE] switches mute or

un-mute the corresponding VCA groups. With this

versatile system it is possible to assign a channel to

multiple VCA groups set up for different purposes.

5 Oscillator/Talkback Section (page 38)

From this section the oscillator and talkback signals can

be sent to any of the console’s master and matrix sends.

The [TB/OSC] switches in the master and matrix

sections assign the oscillator and talkback signals to the

corresponding output.

6 Monitor Control Section (page 40)

With two monitor outputs (MONITOR A & B) and

[CUE] switches on each module, any source or

combination of sources can be monitored as required.

Normally the same monitor signal is delivered via the

two main monitor outputs as well as the console’s three

headphone jacks (one at the top of the monitor module,

and two on either side of the front panel). When the

[LCR] switch is engaged the MONITOR A and B

outputs can be used simultaneously for LCR monitoring.

The [SOLO MODE] switches on the meter bridge allow

the module [CUE] switches to be used as solo switches

independently for the console’s input and output sections

(CUE/SOLO function).

12

PM5000 Overview

7 Mute Master Section (page 21)

The 8 [MUTE MASTER] switches can be used to mute

speciﬁed input channel groups, or as [DIRECT

RECALL] switches for the scene memory. Whether

these switches function in the MUTE MASTER or

DIRECT RECALL mode is speciﬁed via a utility mode

function.

8 Digital Control Section (page 49)

The PM5000’s digital control features are concentrated

in this section. One of the main functions of this section

is storage and recall of console settings to and from the

scene memory. In addition to memorizing the on/off

status of panel switches, the scene memory can also

store fader settings that will be reproduced by the

motorized channel and VCA faders when recalled. A

fader time function is provided to specify the amount of

time it will take for the faders to physically reach the

recalled settings. This section also provides access to

utility functions that deﬁne basic operation of the

console and the way it interacts with some types of

external equipment. External CF (CompactFlash)

memory cards can be initialized and used to store scene

memory data.

9 Meter Bridge (page 47)

Used in conjunction with the monitor control section, the

meter bridge’s LED bar-graph meters provide visual

monitoring of ﬁnal output levels at the console’s rear-

panel outputs. Indicators are also provided to display the

status of the PW5000 Power Supply unit as well as the

console’s internal fan unit and phantom power supplies.

Brightness controls for the console’s illuminated

controls and gooseneck lamps are also provided. Other

controls provided on the meter bridge are scene memory

preview on/off and mode selectors for the CUE/SOLO

function.

) Memory Card Slot

The console's memory card reader is located on the front

panel. The PM5000 can use CF (CompactFlash)

memory cards (see page 59).

Rear Panel

NOTE

The two screws on the right side of the digital control section can

be used to attach a protective cover. The six screws on the sides of

the master sections can be used to attach a book rest or a talkback

cable. These 8 screws do not affect the mechanical strength of the

unit. Use the attached screws or M3-size machine screws 8

millimeters or less in length.

NOTE

All PM5000 inputs and outputs are balanced except for the PHONES outputs and expansion connectors. See the input/output speciﬁcations at the

end of this manual for details.

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PM5000-28

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PM5000-52C

13

PM5000 Overview

! Mono (Stereo) Inputs

XLR-type input connectors, DIRECT OUT connectors,

and INSERT IN and OUT connectors are provided on

each input channel. Stereo modules feature separate

connectors for the L and R channels, but do not have

DIRECT OUT connectors.

@ Sub Inputs

Each stereo aux master has L and R stereo aux SUB IN

connectors, each group/aux master has G/A SUB IN

connectors, both monitor outputs feature stereo 2TR IN

(1 & 2) and L/C/R CUE SUB IN connectors, and the

stereo and mono master outputs have L and R ST SUB

IN and MONO(C) SUB IN connectors. L and R

MATRIX SUB IN connectors are also provided for all

matrix outputs. Please check the supplied block diagram

for details.

# Insert Inputs and Outputs

Insert input and output connectors are provided on all 12

stereo aux masters, 8 group/aux masters, the stereo and

mono masters, and the 4 stereo matrix and 8 mono

matrix outputs.

$ Stereo Aux Master Out

% G/A (Group/Aux) Master Out

^ Matrix Out

The stereo aux master, G/A (group/aux) master, and

matrix output connectors are grouped together here.

& Monitor Out

These are the console’s two stereo monitor outputs (A &

B). You can use outputs A and B as separate stereo

monitor outputs, or use A and B simultaneously for LCR

monitoring (MONITOR B = Center).

* Talkback/Oscillator Out

The talkback or oscillator signal appears at this output.

( Stereo Output and Mono Output

These are the stereo and mono master outputs (ST OUT,

MONO (C)).

º Lamp Connectors

The supplied gooseneck lamps can be connected here (4

connectors on the PM5000-52C, 3 on the PM5000-36

and PM5000-28). Lamp brightness can be adjusted via

the [LAMP DIMMER] control on the meter bridge.

Engage the [LAMP OFF] switch to turn the lamps off.

¡ Fan Vents

These are the air vents for the console’s internal cooling

fans (4 locations on the PM5000-52C, 3 on the PM5000-

36 and PM5000-28). Be sure that the vents aren’t

blocked when installing the console.

™ Fan Switch

Sets the speed of the console’s internal cooling fans to

match prevailing operating conditions. Normally the

[LOW] setting can be used. When the ambient

temperature is high, however, such as in some outdoor

applications when the console is exposed to direct

sunlight, the [HIGH] setting should be used. Also switch

to the [HIGH] setting if the top-panel temperature feels

higher than normal.

£ +48V Master Switch

This is the master switch for the 48-volt phantom power

supply to all input channels. When using phantom power

use the individual input channel [+48V] switches to turn

phantom power on or off as required.

¢ External Expansion Connectors

Type A and B CASCADE connectors, a D-sub 25-pin

GPI connector, and MIDI IN/OUT/THRU connectors for

connection to compatible external equipment.

∞ Power Supply Connector

The dedicated external PW5000 power supply unit must

be connected to this connector using the power supply

cable supplied with the PM5000 console.

NOTE

Stereo aux SUB IN and G/A SUB IN connectors are not provided

on the PM5000-28.

14

PM5000 Overview

Expansion:Connecting to External Equipment

The PM5000 is entirely self-contained and can be used

effectively on its own, but it does provide some versatile

expansion capabilities. In this section we’ll describe how

the PM5000 can be synchronized with external gear and

cascaded with other Yamaha mixing consoles.

Cascade

Two types of cascade connectors are provided on the

PM5000 rear panel: TYPE [A] for connection to a

second PM5000, and TYPE [B] for connection to

Yamaha PM4000/3500 series mixing consoles. In either

case the extra console will be added to increase the total

number of available input channels.

Type A

When the TYPE [A] connectors of two PM5000 consoles are

connected via a cross cable the functions listed below become

linked between the master and slave consoles. The slave console’s

utility mode can be used to specify reception of individual

parameters.

• VCA master section (mute & fade, fade time link).

• Mute master.

• The cue/solo setting (sync of all cue groups).

• Scene memory (synchronized storage and recall of the same

scene number).

The TYPE [A] port can also be connected to the serial RS-422 or

RS-232C port of a personal computer for ofﬂine console parameter

editing. PM5000 setup data can be transferred to and from the

console in standard CSV ﬁle format and edited in any spreadsheet

application that can import and export CSV data. The edited data

can then be directly read back into the PM5000.

Type B

The TYPE [B] cascade connector can be used to connect the

PM5000 to a Yamaha PM4000 or PM3500 series console for

linkage of the functions listed below. In this case the PM5000 will

function as the master console, there is no need to use the utility

mode to set the receive parameters. Cue/solo settings can,

however, be transmitted from the PM4000/3500.

• VCA master section (mute & fade, fade time link).

• Mute master (except for the PM3500).

• The cue/solo setting (sync of input cue only).

MIDI

The PM5000 MIDI connectors allow connection to other

MIDI equipment to provide the following capabilities:

• Program change message reception from an external MIDI

device for scene memory selection.

• Transmission of appropriate program change messages to

external MIDI gear when a scene memory is recalled on the

PM5000.

• Control change reception from an external MIDI device for

control of PM5000 panel control values.

• Transmission of appropriate control change messages to

external MIDI gear when a panel control is operated on the

PM5000.

In order to select the PM5000’s 1000 internal scene

memories using MIDI program change messages 1~128

it is necessary to use program change bank select

messages or create an program change table for the

PM5000. The program change table will also determine

which program change number is transmitted by the

PM5000 when a scene memory is recalled. MIDI

settings can be accessed via the console’s utility

functions. Also refer to the MIDI data list at the end of

this manual.

GPI (General Purpose Interface)

The GPI port allows pulse-signal interfacing with

compatible external equipment for bi-directional control

of several functions. Receive functions include

incrementing or decrementing of the PM5000 scene

memory and talkback on/off switching. GPI data can be

transmitted when a fader is operated (manually or

automatically), or when a speciﬁed scene memory is

recalled. All of these functions are accessible via the

PM5000 utility functions. Refer to the GPI Pin

Assignments chart at the end of this manual for more

information.

NOTE

See the detailed descriptions of the related utility functions in the

Utility Functions section beginning on page 56.

THRU

OUT

IN

MIDI

GPI

RS232C

RS422

MASTER

SLAVE

A

B

NOTE

Appropriate MIDI cables must be connected from the OUT

connector of the transmitting device to the IN connector of the

receiving device. The THRU connector on the receiving devices

re-transmits the data received at the IN connector. On the

PM5000 an “echo” function can be used to retransmit data

received at the IN connector via the OUT connector.

15

Input Channel Section

Mono and Stereo Input Modules

Mono and stereo input modules make up the console’s

input channel section. In essence each stereo module

contains two parallel mono signal paths, and the panel

controls control both channels simultaneously.

Head Amp Block

Initial adjustment of the input audio signal level and

other parameters can be carried out here.

1 [+48V] Switch

Engage this switch to supply +40-volt phantom power to

the corresponding input.

2 [PAD] Switch

When this switch is engaged a 26-db pad is inserted at

the channel’s input to compensate for high-level source

signals.

Input Channel Section

Mono Input

Module

Stereo Input

Module

The arrows indicate controls and indicators that differ

between the mono and stereo input modules.

NOTE

In order to use phantom power, the rear-panel [+48V MASTER]

switch must be turned on. The [+48V MASTER ON] indicator on

the left side of the meter bridge will light when the master

phantom power switch is on.

Mono Input

Module

Stereo Input

Module

1 14

55

3 3

2 2

16

Input Channel Section

3 [GAIN] Control

Adjusts the input level. When the [PAD] switch is off the

input level can be adjusted from –10 dB through –60 dB.

When the [PAD] switch is engaged the range is from +16

dB through –34 dB.

4 [L+R] Switch (stereo modules only)

When this switch is engaged the stereo input signal is

summed to a mono mix, allowing the stereo input

modules to be used as mono input modules, as required.

5 [ø] (Phase) Switch

Engaging this switch reverses the phase (also referred to

as the “polarity”) of the input signal.

HPF Block

The high-pass ﬁlter can be used to attenuate unwanted

low-frequency noise that can adversely affect the overall

sound.

6 [HPF] Switch and Control

The ﬁlter is activated when the switch engaged, and the

control can be used to adjust the high-pass ﬁlter cutoff

frequency from 20 Hz through 400 Hz. The ﬁlter has a

12-dB/oct. cutoff slope.

EQ Block

This 4-band equalizer features

individually-adjustable HIGH,

HI-MID, LO-MID, and LOW

bands for versatile shaping of

the channel signal. The HIGH

and LOW bands are switchable

between shelving and peaking

operation, while the HI-MID

and LO-MID bands are peaking

types.

7 EQ Controls

Two controls are provided for

each EQ band: the upper “Q”

control adjusts bandwidth,

while the lower concentric

control adjusts frequency (outer

control) and gain (inner

control). The HIGH and LOW

bands additionally have a

peaking/shelving switch that

determines the band’s mode of

operation: engaging the switch

selects the shelving mode.

* For all bands Q (bandwidth) can be adjusted from 0.5 ~ 3.0.

8 [EQ] Switch

Turns the 4-band EQ block on or off. When the [EQ]

switch indicator is off the EQ circuitry is bypassed. EQ

is active when the indicator is lit.

NOTE

Stereo modules feature concentric gain controls: the inner control

adjusts the gain of the left channel and the outer control adjusts

the gain of the right channel.

NOTE

To maintain the proper subjective signal level the left and right

channels are attenuated by 3 dB.

6

HIGH

1 kHz ~ 20 kHz, -15 dB ~ +15 dB (peaking

and shelving modes)

HI-MID 400 Hz ~ 8 kHz, -15 dB ~ +15 dB

LO-MID 80 Hz ~ 1.6 kHz, -15 dB ~ +15 dB

LOW

30 Hz ~ 600 Hz, -15 dB ~ +15 dB (peaking

and shelving modes)

7

8

17

Input Channel Section

Insert Block

These switches are used to determine whether and where

external processing gear connected to the rear-panel

INSERT IN and OUT connectors will be inserted into

the channel signal path.

9 Insert [ON] Switch

Turns channel insert on or off. When the [ON] switch is

engaged an external equipment connected to the rear-

panel INSERT IN connectors is inserted into the

channel’s signal path. The [PRE] switch (below)

determines whether the insert is pre- or post-EQ.

) [PRE] Switch

Determines whether the channel’s INSERT IN and OUT

connectors insert the externally connected gear before or

after the channel EQ stage. When the switch is off the

insert is post-EQ. When on (when the indicator is lit) the

insert is pre-EQ.

Stereo Aux Send 1~12 Block

The controls in this block determine

the levels at which the channel signal is

sent to the console’s 12 stereo aux

buses.

!

Send Level and Pan Controls

(mono modules)

Send Level and Balance

Controls (stereo modules)

The inner controls adjust send level (0

dB at approximately 2 o’clock), and

the outer controls adjust pan for mono

modules or balance for stereo modules.

@ [ON] Switch

When an [ON] switch is engaged the

send to the corresponding aux bus is

active.

# [PRE] Switch

When this switch is engaged the pre-

fader signal is sent to the

corresponding aux bus. When off, the

post-fader signal is sent to the aux bus.

NOTE

The channel signal appears at the rear-panel INSERT OUT

connector whether the INSERT [ON] switch is engaged or not.

9

)

!

@

#

18

Input Channel Section

G/A (Group/Aux) Send 1~8 Block

These controls determine how the channel signal is sent

to the console’s 8 group/aux buses.

$ Send Level Controls

Adjust send level to the corresponding group/aux bus (0

dB at approximately 2 o’clock).

% [ON] Switch

When an [ON] switch is engaged the send to the

corresponding group/aux bus is active.

^ [PRE] Switch

When this switch is engaged the pre-fader signal is sent

to the corresponding group/aux bus. When off, the post-

fader signal is sent to the group/aux bus.

Main Out Block

This block determines how the channel signal is

assigned to the console’s main stereo and mono (center)

buses. The stereo and mono outputs can be used

independently, or combined for LCR output.

& [PAN]/[CSR] Control

(mono modules only)

Adjusts panning of the signal sent to the bus(es) to which

the channel signal is assigned via the main out switches

(. When the [ST] switch is engaged, assigning the

channel signal to the stereo bus, stereo panning is

adjusted via the inner control. When the [LCR] switch is

engaged and the channel signal is assigned to both the

stereo and mono buses in LCR mode, the outer [CSR]

(Center-Side Ratio) control can be used – refer to the

column below.

* [BAL] Control (stereo modules only)

Determines the stereo balance when the stereo-module

[ST] main out switch is engaged to send the channel

signal to the stereo bus.

NOTE

The above descriptions apply when the group/aux buses are used

as 8 mono aux buses (the default mode). The functions of the

controls will vary depending on the G/A bus mode selected via

the group/aux master section – refer to “Group/Aux Switching”

on page 32 for details.

$

%

^

&

(

*

º

Mono Input

Module

Stereo Input

Module

(

¡¡

19

Input Channel Section

( Main Out Switches

Determine where the post-fader channel signal will be

sent. To assign the channel signal to the stereo bus

engage the [ST] switch and use the [PAN] & or [BAL]

* control to adjust the stereo image. To send the signal

to the mono bus engage the [MONO] switch. In all cases

the channel fader determines the signal level.

On mono modules it is also possible to send the channel

signal to the stereo and mono buses in LCR mode, using

the mono bus as the center signal. To do this engage the

[LCR] switch and use the [CSR] control & to adjusts the

Center-Side Ratio to achieve the desired LCR balance.

º Channel [ON] Switch

Turns the input channel on or off. When off the channel

signal is not sent to the STEREO AUX, GROUP AUX,

STEREO or MONO buses.

¡ Level Meter

Displays the channels post-EQ pre-fader signal level.

The [PEAK] indicator will light when the signal level

exceeds 17 dB above nominal (0 dB) level.

NOTE

The [PEAK] indicator responds to the pre-EQ and pre-insert

signal level as well as to the post-EQ pre-fader level.

LCR vs. Stereo + Mono Operation

When the [LCR] switch is engaged the stereo and mono (center) buses become linked for LCR operation and the

[ST] and [MONO] switches cannot be engaged. On the other hand, when the [LCR] switch is not engaged the [ST]

and [MONO] switches can be engaged simultaneously. In either case the channel signal is sent to both the stereo and

mono buses. The difference between these two setups is described below.

For example, mono sources are normally positioned in the stereo sound ﬁeld or swept from one side to the other by

adjusting the panning to the stereo bus. This works ﬁne when the distance between the left and right speakers is

relatively small, but problems arise in venues where the speakers are further apart. In fact, in even modest venues if

a channel is panned fully left, for example, audience members sitting on the right side of the house will hear very

little of that signal, if any. In such cases it is useful to provide a center channel, the output level of which will be

adjusted to reinforce the stereo image and provide more effective coverage. Manually adjusting the levels and

panning of the stereo and mono buses to achieve this effect can be extremely difﬁcult, and that’s where the LCR

output mode with CSR (Center-Side Ratio) control comes in handy. With this system and an LCR speaker setup it is

possible to produce natural stereo positioning and smooth panning in large venues with a single control. The [PAN]

control adjusts panning as always, while the [CSR] control determines how the center channel responds to [PAN]

control operation as shown in the diagrams above. The more the [CSR] control is rotated clockwise, the higher the

center channel level as the [PAN] control approaches center position.

Outer: CSR

Inner: PAN

L Bus Level

R Bus Level

MONO(C) Bus Level

CSR Control: LR CSR Control: Center CSR Control: CSR

LR CSR LR CSR LR CSR

20

Input Channel Section

Channel Fader Block

The channel faders determine the level of the channel signal sent to the console’s master buses, and are of primary

importance in setting up the balance between the various channels in the mix. The channel faders can also be assigned to

speciﬁc VCA and mute groups for group level and mute control.

™ Channel Fader

Adjusts the out signal level from the corresponding

channel. The channel faders also affect the signal level

sent to the stereo aux and group/aux buses when the

[PRE] switches associated with the corresponding sends

are off (i.e. they are sending the post-fader signal).

£ [RECALL SAFE] Switch

¢ [FADER SAFE] Switch

Either of these switches can be engaged to prevent the

corresponding data from changing the channel settings

when a scene memory is recalled. Use the [RECALL

SAFE] switch to maintain the master bus assign switch

settings, or [FADER SAFE] switch to maintain the level

of the channel fader.

∞ VCA Indicators 1~12

Indicate the VCA groups to which the corresponding

channel fader is assigned. If a VCA group master to

which the channel is assigned is muted via its [VCA

MUTE] switch, the corresponding VCA indicator will

ﬂash rather than light continuously. More details are

provided in the “Channel Grouping” section on page 21.

§ MUTE Indicators 1~8

Indicate the mute groups to which the corresponding

channel is assigned. More details are provided in the

“Channel Grouping” section.

¶ [CUE] Switch

When this switch is engaged the pre-fader channel signal

is sent to the console’s CUE L&R buses regardless of the

channel’s on/off status. The cue signal can be monitored

via the rear-panel MONITOR OUT connectors or any of

the console’s PHONES jacks.

£

¢

™

¶

∞

§

NOTE

The channel faders are motor-drive types that will physically

move to the memorized settings when a scene memory is recalled

– after the speciﬁed “fade time,” if one has been programmed.

Refer to “Scene Memory Functions” on page 51 for details.

NOTE

Using the VCA CUE function, the post-fader channel signal can

be monitored.

NOTE

The [CUE] switches are also used to assign channels to VCA and

mute groups (page 21), as well as to specify target channels when

setting fade time parameters (page 52). Normal [CUE] switch

function is suspended while any of these operations are in

progress.

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