PM5D Console de Mixare Digitale Discontinuu

The basic PM5D and PM5D-RH consoles differ only in input functionality. The PM5D features standard high-performance head amps, while the PM5D-RH adds head-amp recall capability that allows head amp gain settings to be recalled along with the other console scene data.

In a surprisingly compact frame that weighs only around 100 kilograms, the PM5D offers 48 mono and 4 stereo inputs, 24 mix buses and 2 stereo outputs, and 8 matrix outputs (expandable). The mix buses can be switched to "variable" mode for use as auxiliary buses, or to "fix" mode for pre- or post-pan group bus operation. A full complement of physical I/O connectors provides further patching capability and broad system compatibility. While internal digital I/O patching offers extraordinary signal-routing control when needed, the PM5D has dedicated connectors for straightforward connection without the need for patching, in much the same way that you'd set up a conventional analog console. But you can bring the power of digital patching into play whenever you need to specify insert points, direct outs, metering points, dynamic processor key-in points.a vast range of patching capabilities that simply would not have been possible in the analog domain.

If the capacity provided by the PM5D console alone doesn't meet your requirements, the PM5D-EX system might be just what you need. This powerful live sound and recording package combines a Yamaha PM5D Digital Mixing Console with a DSP5D Digital Mixing System, giving you the I/O and processing capacity of two PM5D consoles controlled from a single control surface: that's a total of 96 mono and 8 stereo input channels in a very flexible, powerful configuration. After a few simple connections the DSP5D becomes an integral part of the PM5D console, and can be controlled from the PM5D control surface in the same way as the internal functions. So although you have 96 microphone inputs and 48 omni outputs (24 mix buses and 16 matrix buses) as well as doubled processing power, you can simply plug in your sources and output devices and mix right away without having to work through another learning curve. The PM5D-EX system is available with the either the PM5D or PM5D-RH console.

Both the PM5D console and DSP5D digital mixing system feature expansion slots that accept a wide range of Yamaha MY cards as well as cards from other manufacturers. Four slots on the PM5D and two on the DSP5D allow not only I/O expansion in a variety of analog and digital audio formats, but also digital networking via CobraNet and EtherSound protocol. This type of expandability further enhances the system's utility for live recording applications because you have a choice of formats you can use to feed stereo or multi-channel audio to a DAW.

Here's a perfect example of a feature that has been implemented in response to feedback from the field. A live recording made during a rehearsal or performance can be temporarily patched into the currently recalled scene without permanently affecting the patch configuration stored with that scene. Pre-recorded material can thus be used for setup and detailed adjustment when musicians or performers aren't available. A simple click is all you need to switch from mic sources to playback tracks, or a combination of both. And because Virtual Soundcheck is isolated from scene control you can recall, edit, and resave scenes in Virtual Soundcheck mode without fear of actually storing patch changes. Unlike similar features found in other consoles, the PM5D lets you assign individual channels to the Virtual Soundcheck function as required, so you can keep sound effect or BGM channels alive while doing a sound check.

The PM5D employs the custom "DSP7" LSI for ultra-high-speed 96-kHz/32-bit processing (24-bit AD/DA, 58-bit accumulator at the EQ stage). Double-rate processing halves the AD/DA latency, and allows reproduction above 20 kHz for maximum openness and "air", as well as outstanding transient response. Like the acclaimed DM2000 and 02R96 digital production consoles, none of the PM5D's functionality is compromised when running at the full 96-kHz rate. Even the high-capacity PM5D-EX system delivers the same top-quality 96 kHz processing throughout for outstanding sound and response, making it a perfect choice for critical live recording applications.

Analog audio circuits are never actually "finished". Each new design, or even a change in layout, means the circuit and components must be retuned for optimum reproduction accuracy, signal-to-noise ratio, and crosstalk. Although most of the signal processing in a digital mixer occurs in the digital domain where the sound itself is really the only concern, some analog circuitry must remain and paradoxically, as Yamaha designers have learned, takes on even greater importance. The head amps are particularly important. For this reason Yamaha head amps are created with the utmost care and attention, resulting in unmatched sonic performance. The renowned Yamaha PM sound lives on in digital consoles.

The input channels provide a range of features you'd expect on a top-class live sound console: 26-dB pad, continuous 44-dB gain trim on the PM5D or 72-dB gain trim on the PM5D-RH, phantom power, phase, HPF, and four-band parametric EQ. There are also many functions you wouldn't find on any analog console, such as a choice of two EQ types, independent gate and compression dynamics for each channel, digital attenuation/gain, delay, and MS decoding. The mix, stereo, and matrix buses also offer these features with the exception of gain trim, gate dynamics, and assignment capability that are not necessary on the output buses. The mix and stereo buses do include eight-band parametric EQ rather than the four-band parametric EQ on the input channels, for additional output EQ control. You can also pair channels both horizontally and vertically, and link EQ and compressor parameters between specified channels.

In addition to the extensive processing capability provided by the channel functions, the PM5D features eight high-performance multi-effect processors and 12 graphic equalizers built in. The digital I/O patching system can be used to insert these at a variety of points in the signal path, or they can be used in a standard send/return type loop. But since not every application requires full use of eight powerful effect processors, some of that power may be diverted to provide additional insertable graphic and parametric EQ capability when needed. The PM5D also comes with Yamaha's incomparable VCM and REV-X built in! You have immediate access to acclaimed REV-X Reverb programs as well as the Compressor276, Compressor260 and EQ601 programs from the AE-011 Channel Strip package and the Open Deck programs from the AE-021 Master Strip package. Effects can be edited from the console display and controls, or from a computer running the supplied PM5D Editor software. The graphic equalizers can be assigned to the DCA faders for direct boost/cut control of individual frequency bands. Of course if you're using the expanded PM5D-EX system, your processing capacity is effectively doubled.

The PM5D offers a control format that will be familiar to anyone who has used any other Yamaha console - the Selected Channel section and Scene section are good examples. But in the PM5D these features have been refined and optimized for live sound, with emphasis on fast, easy access. Some features have evolved from features found on the flagship PM1D digital live console, such as 25 assignable User Defined keys in addition to eight Direct Recall keys for scene recall. A Fader Mode function lets you assign specified operations to the DCA faders for fast, centralized access and control, and direct-access Encoder Mode keys instantly assign a range of important functions to the channel encoders. There's a "scribble stri" space below the channel encoders and User Defined Keys if you prefer the traditional channel identification method. Full scene save and recall functionality is provided, with recall safe to prevent unwanted parameter changes.

Extensive feedback from the many discerning engineers who use the PM1D digital console in critical live applications worldwide has resulted in a number of refinements that have been implemented in the PM5D. The Scene function, for example, includes recall safe that allows detailed settings for each channel, selective recall, and an event list that specifies a sequence for cued scene recall. You can also save parameters in data libraries and specify the library that will be associated with a scene for maximum scene-recall safety. There's also a console lock function that can prevent "accidents" prior to an important show, and an operation lock function lets you lock specified functions while allowing access to others

This seemingly simple function can be a huge advantage when revising a channel layout plan. Mono and stereo input channel setups can be "moved" to any other channel in one simple operation so you don't have to spend time re-entering all of the related channel settings, including patch and HA settings.

The PW800W is a universal power supply unit that will deliver clean, stable power anywhere in the world - even with line voltages as low as 85V. A second PW800W power supply unit can be connected via a single link cable for redundant failsafe operation. This compact 3U rack-mount unit weighs only around 10 kilograms for easy transportation and placement.

Although the PM5D has eight matrix channels, more might be required in large installations. In such cases you can connect a Yamaha DME64N Digital Mixing Engine via a single 68-pin D-sub cable to provide additional matrix outs as well as an extensive array of output processing capabilities. The DME64N's main parameters can be controlled directly from the PM5D console. Another useful external device is the AD8HR, a remotely controllable 8-channel head amp and AD converter that offers the same outstanding recallable head-amp circuitry as the PM5D-RH. Multiple AD8HR units can be connected via a PM5D expansion slot and used as remote stage boxes. Remote control from the consoles' channel encoders is accomplished via a 9-pin D-sub cable. There's also a 4-in/12-out GPI interface, a MIDI interface, and monitoring facilities such as the 2TR IN DIGITAL input with built-in sample rate converter. The PM5D works with a variety of external equipment for smooth integration into any system or application.

Although you can directly connect the DSP5D digital mixing system to the PM5D console via standard cascade cables if they are to be used in relatively close proximity, if you want to locate the DSP5D at a remote location — to use it on-stage for remote I/O for example — the optional DCU5D Digital Cabling Unit lets you locate the DSP5D as far as 120 meters* from the PM5D console, connected only by one high-performance Cat-5 or better Ethernet cable. The DCU5D converts signals appearing at the PM5D's 68-pin D-sub cascade connector to and from Cat-5 audio, dramatically reducing cabling requirements while maintaining solid audio and control reliability over extended distances.

* Actual distance may vary depending on cable performance.

The PM5D comes supplied with a PM5D Editor software application for Windows and Mac computers. While online the PM5D Editor can function as a viewer/controller that displays all channel levels as well as gain reduction meters, and lists the status of event lists or mix sends. Offline it can function as a total system editor that lets you prepare patches and scenes anywhere you can use your computer. Data can be downloaded to the console from a computer or Compact Flash memory card as required, providing the insurance of extra backup capability, as well as allowing individual operators to quickly load their own data as required.

The PM5D provides solid greater security that will keep the system operating properly in the widest possible range of applications. A Load Lock function, for example, makes it impossible to inadvertently load data that might change critical settings from external memory or the PM5D Editor. There's also an Output Isolation feature that allows full input channel control while preventing scene recall operations from changing output compression, delay, EQ, fader, patching, and other output parameters that needs to remain constant even through band or program material changes. You can specify any or all of the output parameters you want protected. And you can now assign "read-only" status to specific scenes to prevent them from being overwritten by store, load, or edit operations.