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.