Yamaha PM4000 Owner's Manual (image) - Page 120

Applications

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Section 8. Applications 8.1 General The PM4000 is designed primarily for audio mixing in live sound reinforcement applications. Its exceptional flexibility, however, will undoubtedly appeal to those who need a high quality audio mixing console for other applications, including TV show and music video production, AV audio production, and general recording. We explain a few reasons why the PM4000 is well suited to these applications below, but rather than focus on specific end-user applications, we feel it is more important to point out how some of the PM4000 subsystems can be used to accomplish specific mixing tasks. It is up to you, as the sound engineer or mixing console operator, to best utilize these capabilities in your specific application. This manual is by no means comprehensive, and we expect that many of you will devise unique means to connect and utilize the PM4000. In fact, Yamaha encourages you to share your special applications with us so that we may, in turn, share the general concepts with other PM4000 users. 8.1.1 Theatre The PM4000 has features that make it ideal for theatrical sound reinforcement. Its eight Master Mute groups, together with the eight Mute assign switches on each input module, enable all the sound sources for a given scene to be preset so they can be turned on or off at the press of a single switch. Since the console has up to 94 dB of gain, distant microphones and quiet speaking voices will cause no problems. When less amplification is needed, the PM4000's eight VCA groups make it possible to alter the balance of different groups of inputs in a way that the conventional group faders cannot: the VCAs can affect all outputs from an input module, and they can control overlapping groups of inputs for "additive" or "subtractive" fades. The console's Mix Matrix can be used as an assignable output mixer. Not unlike a lighting console in concept, the Mix Matrix permits up to 11 sources (the eight group busses, the stereo bus, and matrix, sub inputs) to be remixed into eight different output mixes. The matrix outputs can drive various primary speaker systems, effects speaker systems, as well as lobby, dressing room and other remote speakers. The inputs to the matrix can be mixed independently, as required, for each of the areas. If a simultaneous recording is needed, the matrix can be set to mix signals from ahead of the group and stereo master faders, so the group and stereo outputs can be used for independent multitrack and two-track tape recording mixes. Control room outputs make it possible to monitor the console outputs while working in an isolated booth - they even carry the cue signal so that the operator doesn't have to wear headphones. A Communication input and talkback output facilitate interface to intercom systems. The 40 and 48 input versions have center masters so two operators can work conveniently to handle the show. Its low profile means better sight lines from a high balcony. Its rugged construction means it can travel, reliably, along with the show. 8.1.2 Production Getting the basics of a soundtrack on tape while you're trying to mix sound for a live show can be a real challenge. The PM4000 simplifies the task by providing independent mix capability for the live sound requirements and the tape recording. You can create 40 different output mixes (eight groups, eight mono aux mixes, two stereo aux mixes (or four more mono aux mixes), a stereo mix, and eight matrix mixes). All inputs and bus outputs are balanced, low impedance circuits so long lines can be used without noise. Optional transformers are available where the extra margin of grounding isolation and common mode rejection are critical. Eight group masters, eight separate VCA groups, and eight Master Mute groups together enable the console operator to more easily "keep track" of the many inputs, switching them on or off, and adjusting their levels at the touch of a finger... precisely on cue. Speaking of which, an extensive cue system, with input priority, enables any output or input to be scrutinized "in place" without affecting the output signals. A solo mode, which mutes all but the selected input, speeds pre-production setup and troubleshooting. If the stereo modules are being used for aux returns, and you want a processed signal to remain available when another channel is soloed, you can used a recessed front-panel switch to disable the solo muting relay on those stereo input channels. An important feature of the PM4000 for a production environment is the 11x8 mix matrix, a built-in "mixer within a console." In video work, for example, discrete output mixes can be fed to the 8-track tape machine from the group outputs at a suitable level to Page 8-1

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Section 8.
Applications
8.1 General
The PM4000 is designed primarily for audio mixing
in live sound reinforcement applications. Its exceptional
flexibility, however, will undoubtedly appeal to those
who need a high quality audio mixing console for other
applications, including TV show and music video
production, AV audio production, and general recording.
We explain a few reasons why the PM4000 is well
suited to these applications below, but rather than focus
on specific end-user applications, we feel it is more
important to point out how some of the PM4000 sub-
systems can be used to accomplish specific mixing tasks.
It is up to you, as the sound engineer or mixing console
operator, to best utilize these capabilities in your
specific application. This manual is by no means
comprehensive, and we expect that many of you will
devise unique means to connect and utilize the PM4000.
In fact, Yamaha encourages you to share your special
applications with us so that we may, in turn, share the
general concepts with other PM4000 users.
8.1.1 Theatre
The PM4000 has features that make it ideal for
theatrical sound reinforcement. Its eight Master Mute
groups, together with the eight Mute assign switches on
each input module, enable all the sound sources for a
given scene to be preset so they can be turned on or off
at the press of a single switch. Since the console has up
to 94 dB of gain, distant microphones and quiet speak-
ing voices will cause no problems. When less amplifica-
tion is needed, the PM4000’s eight VCA groups make it
possible to alter the balance of different groups of inputs
in a way that the conventional group faders cannot: the
VCAs can affect all outputs from an input module, and
they can control overlapping groups of inputs for
“additive” or “subtractive” fades.
The console’s Mix Matrix can be used as an assign-
able output mixer. Not unlike a lighting console in
concept, the Mix Matrix permits up to 11 sources (the
eight group busses, the stereo bus, and matrix, sub
inputs) to be remixed into eight different output mixes.
The matrix outputs can drive various primary speaker
systems, effects speaker systems, as well as lobby,
dressing room and other remote speakers. The inputs to
the matrix can be mixed independently, as required, for
each of the areas. If a simultaneous recording is needed,
the matrix can be set to mix signals from ahead of the
group and stereo master faders, so the group and stereo
outputs can be used for independent multitrack and
two-track tape recording mixes. Control room outputs
make it possible to monitor the console outputs while
working in an isolated booth - they even carry the cue
signal so that the operator doesn’t have to wear head-
phones. A Communication input and talkback output
facilitate interface to intercom systems.
The 40 and 48 input versions have center masters so
two operators can work conveniently to handle the
show. Its low profile means better sight lines from a
high balcony. Its rugged construction means it can
travel, reliably, along with the show.
8.1.2
Production
Getting the basics of a soundtrack on tape while
you’re trying to mix sound for a live show can be a real
challenge. The PM4000 simplifies the task by providing
independent mix capability for the live sound require-
ments and the tape recording. You can create 40
different output mixes (eight groups, eight mono aux
mixes, two stereo aux mixes (or four more mono aux
mixes), a stereo mix, and eight matrix mixes). All inputs
and bus outputs are balanced, low impedance circuits so
long lines can be used without noise.
Optional transformers are available where the extra
margin of grounding isolation and common mode
rejection are critical.
Eight group masters, eight separate VCA groups,
and eight Master Mute groups together enable the
console operator to more easily “keep track” of the many
inputs, switching them on or off, and adjusting their
levels at the touch of a finger... precisely on cue. Speak-
ing of which, an extensive cue system, with input
priority, enables any output or input to be scrutinized
“in place” without affecting the output signals. A solo
mode, which mutes all but the selected input, speeds
pre-production setup and troubleshooting. If the stereo
modules are being used for aux returns, and you want a
processed signal to remain available when another
channel is soloed, you can used a recessed front-panel
switch to disable the solo muting relay on those stereo
input channels.
An important feature of the PM4000 for a produc-
tion environment is the 11x8 mix matrix, a built-in
“mixer within a console.” In video work, for example,
discrete output mixes can be fed to the 8-track tape
machine from the group outputs at a suitable level to
Page 8-1