DIGITAL AUDIO MIXING SYSTEM

Transcription

1 DIGITAL AUDIO MIXING SYSTEM

2 Unprecedented Digital Live Sound Mixing Performance From a Company that Knows Digital Technology and Live Sound Inside and Out Yamaha PM-series sound reinforcement consoles have been the first choice of professional live sound engineers for years. The reason? Simply that Yamaha listens. Of course we listen to the sound, but more importantly we really listen to what the pros have to say what they need and what they want. In a sense, our live sound consoles are designed by the people who use them. And so they should be. The same goes for Yamaha digital mixing consoles like the OR a recording industry standard. With more than 1 years experience in digital sound (and, in fact, more than 100,000 Yamaha digital mixers already sold worldwide), we definitely have the resources to create a truly great digital live sound mixing system. So we did. The Yamaha PM1D Digital Mixing System takes sound reinforcement to unprecedented levels of performance and flexibility. It combines Yamaha digital mixing and signal processing technology with the type of features and flexibility that have made the PM-series consoles leaders in the field. The PM1D offers outstanding digital sound quality and controllability in a system that is remarkably compact, easy to set up, and cost-effective. The Yamaha PM1D defines the next generation of sound reinforcement.

3 DIGITAL AUDIO MIXING SYSTEM feature / 6 rack / 8 console / 10 software / 16 spec. / 19 diagram /

4 Simply the Most Powerful, Most Flexible, Most Cost-effective Digital Live Sound Mixing System in Its Class Intuitive Operation with Extraordinary Programmability, Repeatability, and Total Recall Engineers who are comfortable with traditional analog consoles often balk at the thought of going digital because many digital mixers are, frankly, not that easy to use. Not so with the PM1D. The entire system offers intuitive control as well as extended flexibility in terms of programmability and repeatability. In addition to a sophisticated analog-style control surface featuring precision encoders, motorized faders and comprehensive visual indicators, all parameters can be accessed and edited via a familiar computer interface, with graphic readout for easy, efficient operation. In fact, the entire setup can be programmed off-line on a standard desktop or laptop computer and then loaded into the PM1D via standard PCMCIA memory cards when needed. Instantaneous total recall of as many as 990 scenes makes it a snap to keep up with even the most complex programs, and undo capability makes it easy to avoid potential mistakes. All-digital Processing Yamaha is no newcomer to digital sound. Yamaha digital mixing consoles have revolutionized the recording and production industries, and there is no question that the sound quality and processing power they provide are first class. The same type of technology has been applied in the PM1D with many advancements and improvements that take overall audio performance to new levels. All mixing and processing is performed entirely in the digital domain, with a choice of 44.1 khz or 48 khz sampling. Top-quality 8-bit and 7-bit DA conversion ensure that you get from analog to digital, and back to analog, with extraordinary sonic resolution for totally clean, natural sound. The same goes for signal processing whether it s EQ, compression, or effects. The PM1D offers vast processing power and unmatched performance in all areas so you won t need any external processing gear. Of course, if there s a particular compressor, equalizer or other device that you simply have to use to achieve your sound, the PM1D lets you patch it in just about anywhere in the system. In fact, all signal routing and patching is controlled digitally via a comprehensive centralized display that makes system setup a snap. Compact, Streamlined Configuration for Easy Transport & Positioning The entire PM1D system the console itself and one or two equipment racks (depending on your I/O requirements) is considerably smaller, lighter, and much more easy to handle than comparable analog systems. And because of the small size of the console, you have more freedom in selecting and setting up your mixing location. The PM1D is also a natural choice for mobile applications. Fast, Easy Setup with Minimum Cabling In stark contrast to the snakes and bundles of cables required for analog sound reinforcement, all PM1D consoleto-stage audio and control signals are carried via one 68-pin cable per 3 channels, and two Ethernet cables. So once the console and rack(s) are in position, it shouldn t take more than a few minutes to have the whole rig connected and ready to run. What s more, the cable runs can be as long as 00 meters, so you have plenty of leeway in terms of remote location and venue size. Easily Configurable For Input Channels The heart of the PM1D system is the rack-mounted DSP1D mix and processing engine. Virtually all digital audio signal processing occurs within the DSP1D. Input and output is handled by appropriate modules which can be mixed and matched to create the system that ideally meets your mixing requirements. A standard 48-channel system, for example, requires four input frames, three fitted with dual-input mic/line cards for the 48 mono input channels, and one with mic/line cards for the four stereo channels. For a 96-channel setup simply double the number of input cards and add an optional Input Processing Board to the DSP1D processing engine. A single CS1D Control Surface can control two DSP1D processing engines for larger configurations (supported by version up). Redundancy for Reliability You never know what s going to happen in a live situation, so redundancy is essential. Since all console settings are duplicated within the rack-mounted processing engine, operation will continue uninterrupted even if the control surface itself is accidentally shut down. 6 feature 7 feature

5 Hardware Components A basic PM1D system consists of a CS1D Control Surface (with external PW1D Power Supply Unit), and a single equipment rack housing the 9-space DSP1D Processing Engine and appropriate input/output frames loaded with the input and output modules your system requires. -ML8 (LMY-ML x 8) LMY-ML Two A/B-switchable mic/line inputs with 8 bit converters and 4 balanced XLR-type connectors. The Rack Although visually nothing more than a black box with connectors, the rack is where all the real work takes place. And it s customizable, so you have exactly the I/O configuration you need. -8 (LMY4- x 8) LMY4- Four line inputs with 8 bit converters and balanced XLR-type connectors. -8 Line Input Unit The -8 is an analog-input rack-mount unit fitted with 8 LMY4- Line-input modules. LMY4- Line Input modules feature 4 line inputs and the corresponding conversion circuitry. A08-DA8 Line Output DA Unit An AO8 analog-output rack-mount unit with 8 LMY4-DA Line Output DA modules. LMY4-DA Line Output DA modules feature 4 line outputs and the corresponding DA conversion circuitry. DIO8 Digital IO Unit Rack-mount unit capable of accomodating up to 8 mini-ygdai (Yamaha General Digital Audio Interface) I/O cards to conveniently interface with AES/EBU, AT, and TASCAM format digital systems, as well as provide additional analog inputs and outputs. DSP1D Mix & Processing Engine The main engine controlling all console and I/O functions. The base-model DSP1D can handle up to 48 channels, expandable to 96 channels with the optional Input Processing Board (IDB1D). A single DSP1D also provides stereo outputs, 48 mix bus outputs, 4 matrix outputs, and 8 effect inserts. -ML8 Mic/Line Head Amplifier Unit This is an analog-input rack-mount unit fitted with 8 LMY- ML Mic/Line Input modules. Each LMY-ML Mic/Line Head Amplifier card features 4 balanced XLR-type input connectors (dual A/B switchable mic/line inputs) and the corresponding conversion circuitry. Microphone gain trim and phantom power are supported, and can be controlled from the console. -ML44 Mic/Line Head Amplifier & Line Input Unit An analog-input rack-mount unit fitted with 4 LMY-ML Mic/Line Input Modules and 4 LMY4- Line Input modules. -ML44 (LMY-ML x 4, LMY4- x 4) LMY-ML AO8-DA8 (LMY4-DA x 8) LMY4- LMY4-DA Four line outputs featuring 7 bit DA converters and balanced XLR-type connectors Mini YGDAI Cards Mini YGDAI (Yamaha General Digital Audio Interface) digital I/O cards are available in six configurations. See the specifications page for details. 8 rack 9 rack

6 The Console The CS1D Control Surface can only be described as comprehensive and comfortable, with precision encoders, full-length motorized faders, and high-visibility indicators. In addition to the analog-console type controls, the CS1D features a large 800x600 LCD display and familiar computer interface which provides access to all parameters for control and editing. The entire setup can be programmed off-line on a standard desktop or laptop computer and then loaded into the console when needed. INPUT Controls The CS1D has 4 fully assignable input control sections, each accessing 1 channels for a total of 48 channels up front 96 using the console s flip switches. MIX SEND Section The PM1D has 48 mix buses which can function as submasters or auxiliary sends. The MIX SEND controls select the mix bus (1 4 or 1 48) to which the send level from the currently selected input channel will be adjusted. The LOCAL switch determines whether the mix bus selection applies only to the currently selected input channel block or all input channel blocks. INPUT MIX Encoder Sets the send level from the corresponding input channel to the currently selected mix bus. INPUT PAN Encoder Pans the channel signal from left to right on the stereo mix bus when the TO ST switch is engaged. Can also be used for odd/even panning to variable-output mix bus pairs with some setups. TO ST Switch Assigns the signal from the corresponding input channel to the stereo mix bus. INPUT A/B LED Remotely switches between the A and B inputs on input cards (LMY-ML Mic/Line Head Amplifier modules feature switchable A and B mic/line inputs). GAIN Encoder Adjusts the input sensitivity head amplifier module patched to that channel. COMP LEDs Provide an in-channel indication of compressor status, showing whether the channel s signal level is above or below the compressor threshold. GATE LEDs Similar to the COMP LEDs, the GATE LEDs whether the channel s signal level is above or below the gate threshold. INPUT Switch Sets the corresponding channel as the currently selected channel to be affected by all of the consoles ECTED INPUT CHANNEL controls. The switches can also be used to assign channels as stereo pairs. NAME Indicator Displays the short name assigned to that channel. Channel names are entered via the console s LCD display, data entry controls and external keyboard. Switch Turns the corresponding input channel on or off. Meter LEDs A 6-point LED meter displays the channel input level. Input Fader A precision motorized 100-millimeter channel fader with a range from - to +10 db. INPUT DCA Switch & LED The DCA switch can be used to assign the corresponding input channel to any of 1 DCA faders. The LEDs indicate the DCA faders to which the channel is assigned. RCL and MUTE SAFE LEDs The RCL SAFE LED lights when the channel is set to the RECALL SAFE mode, so that the channel is not affected by scene recall operations. The MUTE SAFE mode prevents the channel from being affected by mute group operations. Switch Sends the channel signal to the cue bus for monitoring via the OUT, MITOR OUT A/B, or PHES outputs. ECTED INPUT CHANNEL Controls All parameters for the selected mono or stereo input channel are accessible via these analog-style controls. /Phase/INSERT Section Includes switches for 48-volt phantom power, input phase reversal, and channel insert on/off. INPUT Section Switches between the A and B inputs on the mic/line head amplifier module patched to the selected channel. Section Turns the channel delay on or off, and sets the delay time from 0 to 50 milliseconds for the selected input channel. This feature is particularly useful for time alignment between distant microphones. MIX SEND Section Independent on/off, send level, and pre-post fader switches for each of the mix buses. When an odd-even numbered pair of mix bus sends is assigned as a stereo pair, the odd-numbered control functions as a PAN control while the even-numbered control sets the send level for the pair. The LAYER switches at the bottom of the MIX SEND section determine whether the mix send controls function for mix busses 1 through 4 or 5 through 48. COMPRESSOR Section A full-featured variable-knee compressor with adjustable input high-pass or low-pass filter and key-in capability for precision dynamics control. NOISE GATE Section Extremely versatile keyable noise gate provides effective noise suppression and other gate functions. HPF and LPF filters can be applied to the gate s key-in signal. EQUALIZER Section A flexible 4-band equalizer section with high and low bands switchable for shelving or peaking response, variable frequency and Q on all bands, and an independent variable-frequency HPF with switchable slopes. The equalizer s HIGH band alternatively provides LPF type filtering. STEREO Section The STEREO section allows the currently selected channel signal to be routed to the stereo bus with pan control. This section also provides on/off switching of odd/even panning when the currently selected channel is assigned to appropriate mix buses. GAIN Section When an card with variable head amp gain is patched to the currently selected channel, the GAIN control adjusts the head amp sensitivity up to a maximum gain of 78 db. ATTENUATOR Section Provides attenuation from 0 to 96 db in 1-dB increments. Attenuation is applied between the output of the channel s converter and the HPF input. FER Section The FER section includes a full length motorized fader and on/off switch for the currently selected channel, EQ and clip indicators which light if clipping occurs at any of 6 critical points in the signal path, a 1-point LED level meter, and switch. DCA Section The DCA switches are used to assign the currently selected input channel to one or more of the DCA faders. These switches are particularly useful when a single input channel is to be assigned to multiple DCA faders. SAFE Section Engages or disengages RECALL SAFE and/or MUTE SAFE for the currently selected input channel. CHANNEL ECT Section This section can be used to select the input channel to which the ECTED INPUT CHANNEL controls will apply. A CHANNEL COPY function is included which makes it possible to copy all parameters from one channel to any other channel. GLOBAL CTROL Section The GLOBAL CTROL section includes the MODULE FLIP and FER FLIP switches (described below), and a pair of headphone outputs for convenient monitoring of the console's MITOR A and MITOR B signals. MODULE FLIP Switch The MODULE FLIP switch vertically flips the input channel modules, bringing hard-to-reach controls to the front of the console for easy access. FER FLIP Switch The FER FLIP switches flip the functions of the input channel MIX encoders and faders so that the MIX encoders control channel input level while the channel faders control the mix bus send level. 10 console 11 console

7 MIX, MATRIX, & DCA Controls The center section of the console houses the MIX OUTPUT, MATRIX OUTPUT and DCA FER sections. MIX OUTPUT Block The MIX OUTPUT block provides output level encoders for mix buses 1 through 48, as well as switches, TO STEREO switches, DCA assign switches, switches, and switches which assign the corresponding channel to the ECTED OUTPUT CHANNEL controls. 4 MIX OUTPUT modules are provided, with MIX LAYER switches which determine whether mix busses 1 through 4 or 5 through 48 are controlled. Odd and evennumbered MIX OUTPUT channels can be assigned to function as pairs to handle stereo signals. MATRIX OUTPUT Block A 4-channel (1 modules layer-switchable for channels 1 through 1 or 13 through 4) submix matrix for the mix buses, the STEREO channel, and SUB IN channels. Each matrix module features a level encoder, switch, switch, and switch which assigns that channel to the ECTED OUTPUT CHANNEL controls. DCA GROUP Block 1 DCA faders can be assigned to any input or output channels for convenient grouping. The faders can also be used to control individual bands of the internal 31-band graphic equalizer. ECTED OUTPUT CHANNEL Controls The ECTED OUTPUT CHANNEL controls including up to a 1,000 millisecond delay, compression, 6-band EQ with bypass switches on each band, and DCA assignment apply to the currently selected output channel: MIX, MATRIX, or STEREO A/B. Section Turns the channel delay on or off, and sets the delay time from 0 to 1,000 milliseconds for the selected input channel. COMPRESSOR Section Like the compressor featured in the ECTED INPUT CHANNEL section, this is a full-featured variable-knee compressor with adjustable input high-pass or low-pass filter and key-in capability for precision compression of the console s output signals. EQUALIZER Section A 6-band equalizer section with high and sub-low bands switchable for shelving or peaking response, and variable frequency and Q on all bands. The equalizer s HIGH band alternatively provides LPF type filtering, while the SUB LOW band can be switched for HPF operation. OUTPUT Section This section of the ECTED OUTPUT CHANNEL block includes an switch, TO ST and TO MTRX assign switches, an INSERT switch which allows external devices or internal effects to be patched into the current output signal, an output PAN/BAL encoder which can be used for pan or balance control depending on the signal assignment, a encoder for output level control, and a switch. CHANNEL ECT Section This section can be used to select the output channel to which the ECTED OUTPUT CHANNEL controls will apply. A CHANNEL COPY function is included which makes it possible to copy all parameters from one channel to any other channel. Stereo Inputs The stereo inputs feature essentially the same controls as the mono input channels. The main difference is that they have independent switches to assign the L or R channel signal to the ECTED INPUT CHANNEL section. Master Control & Data Entry Fully assignable master and bus controls make signal routing exceptionally flexible and easy. STEREO OUTPUT Block The master stereo faders control the output from the console s stereo bus. In addition to the faders the STEREO OUTPUT block includes channel switches, TO MATRIX (STEREO A) and MO (STEREO B) switches, switches, and switches which assign the STEREO A or B fader signal to the ECTED OUTPUT CHANNEL controls (although there is only one stereo bus, the ECTED OUTPUT CHANNEL parameters can be individually applied to the STEREO A and B signals). The STEREO OUTPUT block also features RECALL SAFE and MUTE SAFE LEDs similar to those on the input and output channels. MASTER Block The MASTER block includes controls which apply to the entire console: talkback, oscillator, monitor source selection and level, cue level. The MTOR A module even features a variable delay of up to 750 milliseconds. SCENE MEMORY Block The PM1D can store up to 990 scenes, any of which can be recalled via the SCENE MEMORY block numeric keypad. 1 DIRECT RECALL buttons provide one-touch access to 1 of the stored scenes, but they can also be used as MUTE MASTER buttons, recalling any of 1 mute groups. LCD FUNCTI ACCESS/USER DEFINE Block Provides access to any of the console s LCD display screen function pages, and includes a number of user-definable function buttons. DATA ENTRY Block This block includes cursor keys, INC/DEC keys, a data-entry dial, and a trackpad for versatile, easy data entry. 1 console 13 console

8 Level Meters Assignable level meters for comprehensive level monitoring. The leftmost 4 meters always display levels on MIX buses 1 through 4, while the rightmost 4 meters can be switched to display either the levels on MIX buses 5 through 48 or MATRIX buses 1 through 4. The meter bridge also includes independent stereo meters for the STEREO A, STEREO B, and signals. There s also a TIME CODE readout which displays either time code received via the console s rear-panel TIME CODE IN terminal and a SCENE MEMORY display which shows either current or preview (next) scene number and name. Rear Panel Connectors The CS1D rear panel provides connectors which allow interfacing with a wide range of external equipment, including the PM1D system rack units and power supply, DAT recorders and other audio equipment, monitor systems, MIDI gear, and more. Front Panel Connectors KEYBOARD Connector A PS/-compatible keyboard can be connected here for convenient entry of channel names, scene titles, etc. MOUSE Connector A PS/-compatible mouse can be connected here for convenient parameter control (the external mouse can be used in the same way as the top-panel trackpad). Left Side Most of the connectors used for interfacing with external devices are grouped here. COMMUNICATI Connectors TO HOST Connectors TIME CODE IN Connector GPI Connector MIDI Connectors REMOTE Connector NUM KEY Connector MOUSE Connector KEYBOARD Connector EXTERNAL VGA Connector Center POWER Connectors Dual DC POWER INPUT connectors can be used with either one or two PW1D DC Power Units. When two PW1D units are connected each provides 50% of the console s power requirements. If one unit malfunctions, the other takes over automatically to supply full power. Right Side Most of the connectors for connecting the various components of the PM1D system are grouped on the right side of the rear panel. DIGITAL I/O Connectors -TRACK IN DIGITAL Connectors STEREO OUT DIGITAL A and B Connectors WORD CLOCK Connectors LAMP Connectors TR IN ANALOG Connectors MITOR OUT ANALOG Connectors TALKBACK IN Connector OUT ANALOG Connectors MITOR A and B Headphone Jacks Headphone jacks for convenient direct monitoring of the console s MITOR A or MITOR B signals. LCD Display Large 800 x 600 pixel display for efficient programming and control. 14 console 15 rear & front panel

9 Software Control In addition to the physical CS1D controls, all PM1D setup and control parameters can be accessed via software using the console s 800 x 600 LCD display screen and data entry controls. In fact, the entire system can be set up off line using the PM1D software on a standard Windows-based laptop computer, and then the data can be downloaded to the console either via a direct connection (serial) or via PCMCIA memory cards. Effects The PM1D has 8 independent internal multi-effect processors which can be patched into any of the console s input, stereo, mix, or matrix channels. Effect parameters are adjustable via easy-to-use graphic on-screen controls. A comprehensive range of reverb, delay, modulation, and combination effects are provided so that unless a mix calls for a specific external effects processor, you won t need any external processing at all. And, like most other parameter groups, an extensive preset library is provided for fast, easy setup. Of course, you can add your own setups to the library for instant recall whenever needed. 4 Graphic Equalizers The PM1D provides a range of 4 31-band graphic equalizers for output processing. The graphic equalizers are ideal for use whether you need a subtle overall response adjustment or a more dramatic boost or cut in a limited frequency range. Each equalizer also features a spectrum analyzer display, and four notch filters with adjustable frequency and bandwidth. For easy setup the console s DCA faders can be assigned to directly adjust the GEQ bands in 1-band groups via the FER STATUS switches. It would not be possible to introduce all of the PM1D s software parameters and displays in the space available here, but here are a few examples. Channel EQ You can view and control all EQ parameters for a single channel in one display screen, or view multiple channels at a time. In the multiple-channel view parameters can be drag-anddrop copied between channels so you don t need to individually adjust parameters when you want similar effect setups on several channels. Compression and Gating Setting up optimum compression and gating parameters can be a tricky business, but the PM1D s graphic displays make the process as easy as possible. In addition to duplicating the panel controls, the on-screen compressor and gate displays include the parameters you ll need for key-in signal routing and setup. As in the equalizer displays, compressor and gate parameters can simply be drag-and-drop copied between channels for maximum efficiency when you need similar setups on multiple channels. 16 software 17 software

10 System Configuration The system connection displays let you see how the entire system is connected and what input and output modules are installed at a glance. You can even monitor individual levels for each I/O card. This can be a great time-saver, for example, in situations in which you need to check your input and output setup but the rack is located a long distance from the console. Scene Management If the PM1D s 990-scene internal memory is not enough for your needs, scene data can be stored to PCMCIA memory cards inserted into either or both of the console s card slots. In the same way, scene data created or edited offline on a personal computer can be loaded into the PM1D ready for use at any time. You can transplant entire system setups from one PM1D system to another via compact memory cards that can be comfortably carried in a shirt pocket. The card slots also provide a low-cost, convenient means for firmware updates, when they become available. Specifications GENERAL SPECIFICATIS 1 < PM1D > Number of scene memories 990 Sampling Frequency Internal: 48kHz/44.1kHz External: 44.1kHz -10% ~ 48kHz +6% Fader 67 x 100mm motorized Total Harmonic Less than 0.0% 0Hz ~ +4dB into 600 Ω Distortion Less than 0.007% into 600 Ω CH IN to STEREO OUT converter 8bit 18 times over sampling (Signal Delay Fs = 48kHz) DA Converter 7bit 18 times over sampling (Signal Delay Fs = 48kHz) Frequency Response +1, -db 0Hz ~ +10dB into 600 Ω Dynamic Range 10dB typ. +DA ( LMY- card to DA card) (maximum level to noise level) Hum & Noise -18dB typ. Equivalent Input Noise. (0Hz ~ 0KHz) (Rs = 150W) (Input Gain = Max.) GENERAL SPECIFICATIS 3 Output section STEREO A, B, MIX 1-48, MATRIX 1-4 Patch Equalizer Comp Delay On/Off Cue/Solo Balance Mono to stereo assign to matrix assign Metering Dither Output, Insert in/out 6 band (Sub Low/HPF/Shelving, Low, Low-mid, Mid, High-mid, High/LPF/Shelving) (Bypass switch for each band) (Parameters are same as input EQ) Comp/Expander/compander selectable, 4 key-in bus Delay time (0 ~ 1000ms, 0.0msec step) On/Off (PFL/AFL) Stereo A, B, Paired Mix & Matrix Stereo B from Mix output from Mix 1-48/stereo A, B comp gain reduction, pre eq/pre fader/post fader/post on selectable with Peak-Hold On/Off, Word length 16 ~ 4bit (DIO8 only) GENERAL SPECIFICATIS 5 ANALOG INPUT CHARACTERISTICS Input GAIN Actual Load For Use With Input level Connector Terminals Impedance Nominal Nominal Max. before clip TALKBACK -44dB 3kΩ Ω Mics & -44dB(4.89mV) -30dB(4.5mV) XLR-3-31 type IN 1, *3. *5. +10dB 600Ω Lines +10dB(.45V) +4dB(1.3V) (Balanced)*1. -TRACK IN - 10kΩ 600Ω Lines +10dB(.45V) +4dB(1.3V) XLR-3-31 type ANALOG 1, *4. (Balanced)*1. *1. TALKBACK IN and -TRACK IN ANALOG XLR-3-31 type connectors are balanced. (1=GND, =HOT, 3=COLD) *. 0dB is referenced to Vrms. *3. converters are 4bit linear, 18 times oversampling. *4. converters are 8bit 18 times oversampling. *5. DC (Phantom power) is individually supplied to each TALKBACK connectors via 6.8k ohms resistors. ANALOG OUTPUT CHARACTERISTICS Input Actual Load For Use With Input level Connector Terminals Impedance Nominal Nominal Max. before clip MITOR OUT A,B 150Ω 600Ω Lines +10dB(.45V) +4dB(1.3V) XLR-3-3 type (Balanced)*1. Patching Several patch displays allow the system s inputs, inserts, and outputs to be patched to appropriate I/O modules. You can also assign channel names for easy identification. Centralized control means you ll never have to run around to physically re-patch cables whenever you need to reconfigure the system, and patch setups you might want to use again can be stored in the patch library for instant recall at any time. Preset Libraries for Fast, Efficient Operation Setting up the entire PM1D system from scratch can be a formidable task, so Yamaha has provided an extensive selection of presets in a range of libraries that can simply be selected and used as is, or modified to suit specific requirements. Of course, your own setups can be added to the libraries for instant recall whenever they are needed. The available preset libraries are: IN EQ, OUT EQ, COMP, GATE,, UNIT, PATCH, NAME, EFFECT, and GEQ. EQ Library COMP Library EFFECT Library GENERAL SPECIFICATIS Input section CH1-96, ST IN1-8 De-emphasis/DC cut Phase Normal/Reverse Patch Input, Direct out (pre eq/pre fader/post fader/post on), Insert in/out (pre eq/post eq/pre comp/pre delay/pre fader) Attenuation -96 ~ 0dB (1dB step) High pass filter 0Hz - 600Hz (60 point) slope -6dB / -1dB / -18dB/oct Equalizer 4band (Low/shelving, Low-mid, High-mid, High/Shelving/LPF) F: 0Hz-0kHz (10point), Gain: dB (0.5step), Q: (41point) Gate Gate/Ducking selectable 4 key-in bus Comp Comp/Expander/compander selectable 4key-in bus Delay Delay time (0 ~ 50ms, 0.0msec step) Fader 100mm motorized, -, dB (18 step/100mm), Interpolation 4bit (16,777,16steps) On/Off Cue/Solo On/Off (PFL/AFL) Pan 17 positions (L=1-63, center, R=1-63) Stereo/group assign STEREO/ MIX 1-48 (FIX/ VARI selectable) Metering pre att peak, comp/gate gain reduction, pre att/pre gate/pre fader/post fader/ post on selectable with Peak-Hold GENERAL SPECIFICATIS 4 Other mixer section Effects Internal patchable eight multi-effects units Graphic equalizer Internal patchable twenty-four 31-band graphic equalizers, each with 4 notch filters Oscillator sine/pink/burst noise Talk back From console 1 & Communication In Including ducking control 1 DCA with DCA mute, DCA cue/solo, 9-1 are selectable for output 1 Direct Memory Recall/Mute Group Monitor A tr in 1,, ST A, B, user define selectable with delay (max 750msec) Monitor B tr in 1,, ST A, B, moni A, user define selectable tr in & : Analog/Coaxial/AES/EBU selectable, 3-6: AES/EBU (with Sampling Rate Converter for digital input) OUT 150Ω 600Ω Lines +10dB(.45V) +4dB(1.3V) XLR-3-3 type (Balanced)*1. PHES A1,B1 15Ω 8Ω Phones 75mW 150mW Stereo Phone Jack 40Ω Phones 65mW 150mW (Unbalanced)*. PHES A,B 15Ω 8Ω Phones 75mW 150mW Stereo Phone Jack 40Ω Phones 65mW 150mW (Unbalanced)*. *1. MITOR OUT and OUT XLR-3-3 type connectors are balanced. (1=GND, =HOT, 3=COLD) *. PHES stereo phone jack are unbalanced. (Tip=LEFT, Ring=RIGHT, Sleeve=GND) *3. 0dB is referenced to Vrms. *4. DA converters are 4bit linear, 18 times oversampling. 18 software 19 spec.

11 ENGINE A B COMMUNICATI 1 48CH 96CH DSP000 A B AO8 A B AO8 ENGINE A B COMMUNICATI 1 48CH 96CH DSP000 A B AO8 A B AO8 A B AO8 CS1D DIGITAL INPUT&OUTPUT CHARACTERISTICS GENERAL SPECIFICATIS 6 GENERAL SPECIFICATIS 8 GENERAL SPECIFICATIS 10 INPUT/OUTPUT FORMAT CNECTOR TERMINALS TYPE QUANTITY < DSP1D: DSP Unit > < AO8: ANALOG Output Box > <Dimensions> DIGITAL I/O - RS4 D-SUB Half Pitch Connector 68P 6 ENGINE A1,A (Female) ENGINE B1,B CSOLE 1, -TRACK IN DIGITAL AES/EBU RS4 XLR-3-31 type Connector 6 AES/EBU 1-6 -TRACK IN DIGITAL IEC Vpp/75Ω PIN JACK COAXIAL 1- STEREO OUT DIGITAL AES/EBU RS4 XLR-3-3 type Connector AES/EBU A,B STEREO OUT DIGITAL IEC Vpp/75Ω PIN JACK COAXIAL A,B WORD CLOCK IN - TTL/75Ω(/OFF) BNC Connector 1 WORD CLOCK OUT - TTL/75Ω BNC Connector 1 SVGA OUT SVGA Vpp High density D-sub 15pin 1 Connector(Female) KEYBOARD PS TTL Mini DIN 6pin Connector MOUSE PS TTL Mini DIN 6pin Connector NUMKEY PS TTL Mini DIN 6pin Connector 1 REMOTE RS-4 - RS4 D-sub 9pin Connector(Female) 1 MIDI IN,OUT,THRU MIDI - DIN 5pin Connector 3 TIME CODE IN SMPTE Nominal 10dB/10kΩ XLR-3-31 type Connector 1 GPI - C-MOS IN, D-SUB 5pin Connector(Female) 1 Open collector out PC CTROL USB - 0V 3.3V B Type USB Connector 1 PC CTROL RS-3-C - RS-3-C D-SUB 9pin Connector(Male) 1 INPUT/OUTPUT FORMAT CNECTOR TERMINALS TYPE CTROL I/O V V BNC Connector 1 ENGINE A 1IN,1OUT,IN,OUT ENGINE B 1IN,1OUT,IN,OUT CSOLE 1IN,1OUT,IN,OUT DC POWER INPUT - DC 60V KN-7-31S 7pin(Female) LCD Display800 x 600 Dots Graphic color LCD with backlit PCMCIA card slot for external memory PW1D Power Supply to the CS1D QUANTITY 10 digital signal in 68pin digital signal connector 6 digital signal out 68pin digital signal connector Console I/O pair BNC 50Ω, 68pin digital signal connector Cascade I/O 68pin digital signal connector Word clock I/O BNC 75Ω Controls ENGINE ID A/B indicators CTROL I/O 1/ indicator INPUT CFIGURATI 48CH/96CH indicators GENERAL SPECIFICATIS 7 < : ANALOG Input Box > Slot Phantom Master switch Digital signal Output Control Input port 8slots for card DC for Mic/Line inputs 3 (A, B, C) 68pin digital connector Port select switch (A/B/C) < LMY-ML: Mic/Line Input Card > Gain control 78dB (-68 ~ +10) for Mic/Line inputs converter 8bit, 18 times oversampling. DC (phantom power) is individually supplied to each input connectors Input GAIN Actual Load For Use With Input level Connector Terminals Impedance Nominal Nominal Max. before clip CH1A,1B -68dB 3kΩ Ω Mics & -68dB(309uV) -54dB(1.55mV) XLR-3-31 type CHA,B +10dB 600Ω Lines +10dB(.45V) +4dB(1.3V) (Balanced)*1. *1 ANALOG INPUT 1-4 XLR-3-31 type connectors are balanced. (1=GND, =HOT, 3=COLD) < LMY4-: Card > converter 8bit 18 times oversampling. Input Actual Load For Use With Input level Connector Terminals Impedance Nominal Nominal Max. before clip CH1-4 10kΩ 600Ω Lines +10dB(.45V) +4dB(1.3V) XLR-3-31 type (Balanced)*1 *1. ANALOG INPUT 1-4 XLR-3-31 type connectors are balanced. (1=GND, =HOT, 3=COLD) Slot Digital signal Input < LMY4-DA: DA Card > Maximum Output level DA converters 8slots for DA card (A, B) selectable 68pin digital signal connector 4/18/15dB selectable for individual channel 7bit 18 times oversampling. Output Gain Actual Source For Use With Output level Connector Terminals Switch Impedance Nominal Nominal Max. before clip CH1-4 +4dB 150Ω 600Ω Lines +10dB(.45V) +4dB(1.3V) XLR-3-3 type +18dB + 4dB(1.3V) +18dB(6.16V) (Balanced)*1 +15dB + 1dB(870mV) +15dB(4.36V) *1. ANALOG OUTPUT 1-4 XLR-3-3 type connectors are balanced. (1=GND, =HOT, 3=COLD) GENERAL SPECIFICATIS 9 < DIO8: Digital I/O Box > Slot Digital connector mini-ygdai 8slots 68pin digital signal connector 4 (in A, B, out A, B) Port B selector for slot 5-8 < Optional Card: mini-ygdai Cards > MY8-TD MY8-AT MY8-AE TASCAM Format AT Format AES/EBU Format MY8- MY4- MY4-DA ANALOG 8in Format ANALOG 4in Format ANALOG 4out Format TASCAM is registered trademarks of TEAC Corporation. AT is registered trademarks of Alesis Corporation. Height Depth Width Weight Power Requirement USA Canadian European model(10v 60Hz) model(30v 50Hz) CS1D 353mm 974mm 1904mm 10kg Control Surface (13.9") (38.3") (75") (64.6 lbs.) PW1D 97.5mm 368.5mm 480mm 9.6kg 400W 400W Power supply to the CS1D (U)(3.8") (14.5") (18.9") (1. lbs.) DSP1D 409mm 455mm 480mm 33kg 170W 170W DSP unit (9U)(16.1") (17.9") (18.9") (7.7 lbs.) (with 8cards) (with 8cards) 13mm 455mm 480mm 15.4kg 10W 10W unit(no cards) (3U)(5.") (17.9") (18.9") (34 lbs.) (with 8cards) (with 8cards) AO8 13mm 455mm 480mm 15.4kg 10W 10W DA unit(no cards) (5.") (17.9") (18.9") (34 lbs.) DIO8 176mm 400mm 480mm 15.5kg 70W 70W Digital I/O unit(no cards) (4U)(6.9") (15.7") (18.9") (34. lbs.) (with 8cards) (with 8cards) LIBRARIES PATCH Libraries Number of user library 99 NAME Libraries Number of user library 99 INPUT UNIT Libraries Number of user library 99 OUTPUT UNIT Libraries Number of user library 99 INPUT EQ Libraries Number of factory presets 37 Number of user library 6 OUTPUT EQ Libraries Number of factory presets 3 Number of user library 96 INPUT GATE Libraries Number of factory presets 4 Number of user library 95 INPUT COMP Libraries Number of factory presets 34 Number of user library 65 OUTPUT COMP Libraries Number of factory presets 9 Number of user library 90 INPUT CH Libraries Number of user library 99 OUTPUT CH Libraries Number of user library 99 EFFECT Libraries Number of factory presets 70 Number of user library 19 GEQ Libraries Number of user library 99 PM1D : Digital Audio Mixing System ENGINE IN OUT DSP1D -ML8 -ML8 -ML8 -ML44 8+ AO8-DA8 3 out AO8-DA8 3 out INPUT 48 mono 4 st sert Total 7 in 48 CH MODEL OUTPUT stereo 4 mix 1 matrix sert out 8 (talkback, monitor,etc) Total 64 out DSP1D-EX -ML8 -ML8 -ML8 -ML8 AO8-DA8 3 out AO8-DA8 3 out INPUT 96 mono 8 st 3 insert Total 144 in 96 CH MODEL -ML8 -ML8 -ML8-8 3 in AO8-DA8 3 out OUTPUT stereo 4 mix 1 matrix 3 insert out 4 (talkback, monitor,etc) Total 64 out CS1D PW1D MODEL 48 CH 96 CH CS1D 1 1 PW1D 1 1 DSP1D 1 0 DSP1D-EX 0 1 -ML ML AO8-DA8 3 *Specifications and appearances are subject to change without notice. 0 spec. 1 spec.

12 PM1D System Block Diagram (CS1D, DSP1D,, AO8, DIO8) PM1D System Level Diagram 1 CH 1 A TALKBACK IN CH 1 B CH A CH B [ + LMY-ML] CH 1 CH CH 3 CH 4 [ + LMY4-] [DIO8 + MYx-xx] COAXIAL -TRACK IN DIGITAL1(-) AES/EBU A/B PHANTOM MASTER /OFF GAIN Option Card IN (8ch) 8 from EFFECT 1(-8) Lch -TRACK IN ANALOG1(-) Rch AES/EBU -TRACK IN DIGITAL3(-6) [CS1D] from GEQ 1(-4) HA HA A/B PHANTOM BA PHANTOM HA HA SRC SRC GAIN BA BA BA BA : DSP1D : OTHER INPUT PATCH CH 1(-48) (-96) PEAK ATT. HPF CH 1(-48) (-96) INSERT IN 1(-48) (-96) PEAK STIN Lch 1(-4) (-8) INSERT IN STIN 1(-4) Lch (-8) PEAK STIN Rch 1(-4) (-8) INSERT IN STIN 1(-4) Rch (-8) COMM IN SUB IN L SUB IN R DIRECT IN L DIRECT IN R ATT. ATT. 5 from PRE ATT. to OUTPUT PATCH from PRE EQ INSERT OUT 1(-48) (-96) INSERT 4BAND GATE COMP HPF KEYIN SOURCE: F PRE EQ F POST EQ LEFT CH(POST EQ) KEYIN BUS1-4 STIN 1(-4) (-8) LPF to OUTPUT PATCH 4BAND HPF GATE COMP 5 INSERT OUT STIN L 1(-4) HPF LPF to OUTPUT PATCH 4BAND HPF GATE COMP 5 INSERT OUT STIN R 1(-4) HPF LPF from PRE ATT. from PRE EQ FER FER FER MITOR A PAN VARI MIX PAIR MIX(EVEN) DIRECT OUT 1(-48) to OUTPUT PATCH (-96) PAN to MITOR A VARI DIRECT OUT STIN 1(-4) Lch to OUTPUT PATCH (-8) PAN FIX VARI DIRECT OUT STIN 1(-4) Rch to OUTPUT PATCH (-8) MIX1 MIX MIX48 STEREO L STEREO R L R from MIX1 from MIX48 from STEREO A Lch from STEREO A Rch SUB IN Lch SUB IN Rch OSC PINK NOISE BURST NOISE from CASCE IN Frequncy: 100Hz - 10kHz HPF to CASCE OUT KEYIN LPF KEYIN KEYIN OSC TB OFF from PRE ATT. from PRE EQ GATE from CASCE IN to CASCE OUT TB OUT OSC OUT MIX1(ODD) MIX1(ODD) MIX(EVEN) OSC OUT to OUTPUT PATCH TALKBACK OUT to OUTPUT PATCH FIXED MIX PAN TO ST FIX FIXED MIX PAN TO ST FIX FIXED MIX PAN TO ST 1 4 6BAND INSERT IN ST A Lch TR IN 6 Rch 6BAND INSERT IN MIX1(-48) TR IN 3 Lch 6BAND INSERT IN ST A Rch 6BAND INSERT IN ST B Lch 6BAND INSERT IN ST B Rch MITOR A ECTOR MITOR B ECTOR 4 to from INPUT PATCH COMP COMP COMP COMP COMP PAN from MITOR A INSERT IN MTRX1(-4) MIX to STEREO 6BAND from CASCE IN to CASCE OUT same as above from INPUT PATCH from INPUT PATCH from INPUT PATCH from INPUT PATCH STEREO A INSERT MIX 1(-48) FER STEREO B INSERT MO FER COMP FER BALANCE FER FER BALANCE from INPUT PATCH to KEYIN BUS to CASCE OUT to CASCE OUT to MITOR to MATRIX MATRIX 1(-4) to MITOR FER to MITOR to CS1D to MATRIX to MITOR to CS1D to MATRIX to MITOR to MITOR to CS1D to MATRIX to CS1D to MATRIX DIMMER TO MI B ASSIGN OUTPUT PATCH 8 DITHER CH1 Option Card OUT(8ch) EFFECT 1(-8) DITHER DITHER to EFFECT RETURN 31band GEQ1(-4) with Selectable to GEQ RETURN SPECTRUM ANALYZER from DSP1D from DSP1D CH CH3 CH4 [AO8 + LMY4-DA] [DIO8 + MYx-xx] COAXIAL STEREO OUT DIGITAL A [4bit Data] AES/EBU COAXIAL STEREO OUT DIGITAL B [4bit Data] AES/EBU L OUT R L L MITOR OUT A R MITOR OUT B R MITOR A PHES MITOR A PHES MITOR B PHES MITOR B PHES [CS1D] Analog dbu Digital dbfs Bit [0dBu = 0.775Vrms] [0dBFS = Full Scale] Max. Input [+4dB] GAIN MIN Nominal Input [+10dB] GAIN MIN Max. Input [-54dB] GAIN MAX Nominal Input [-68dB] GAIN MAX Analog (LMY-ML) GAIN HA [+0dB] [+6dB] Digital (DSP1D) TRIM from CASCE IN from MIX1 DEFINE from MIX48 from STEREO A Lch from MATRIX1 from STEREO A Rch L MO/R MO DIMMER from MATRIX4 from STEREO B Lch DIRECT INPUT Lch from COMM IN DIRECT INPUT Rch from STEREO B Rch COMM IN 1 TR IN 1 Lch to MITOR B TALKBACK TR IN Rch PHASE PATCH ATT. HPF EQ GATE COMP PAN BUS EQ Adder Digital (DSP1D) MASTER MASTER COMP PATCH DA CASCE IN CASCE OUT Digital Clipping Level DSP Noise Floor Analog (LMY4-DA or CS1D) Analog dbu Max. Output [+4dB] STEREO OUT A-B +4 MIX OUT MITOR OUT A-B MATRIX OUT Nominal Output [+10dB] CASCE IN 58 to MITOR A to MITOR B to COMM IN to TALKBACK from MITOR A from MITOR B from COMM IN from TALKBACK 58 CASCE OUT diagram

13 YAMAHA web site LPA435 Printed in Japan