Yamaha PM4000E 电路图.pdf

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1、PROFESSIONAL AUDIO MIXING CONSOLE PM4000 OPERATING MANUAL YAMAHA RadioFans.CN 收音机爱 好者资料库 PM4000 OPERATING MANUAL RadioFans.CN 收音机爱 好者资料库 IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING : THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured

2、in accordance with the following code: GREEN-AND-YELLOW:EARTH BLUE:NEUTRAL BROWN:LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-AND-YELLOW m

3、ust be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbolor coloured GREEN or GREEN-AND-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN mus

4、t be connected to the terminal which is marked with the letter L or coloured RED. * This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD. Professional audio mixing console Typ : PM4000 82/499/EWG YAMAHA Europa GmbH This product complies with the radio frequency interference

5、requirements of the Council Direc- tive 82/499/EEC and/or 87/308/EEC. YAMAHA CORPORATION MICROPHONE CABLES AND MICRO- PHONES CONNECTION TO PREVENT HAZARD OR DAMAGE, ENSURE THAT ONLY MICROPHONE CABLES AND MICROPHONES DESIGNED TO THE IEC268-15A STANDARD ARE CONNECTED. RadioFans.CN 收音机爱 好者资料库 How to Us

6、e This Manual If you are an engineer or technician who is familiar with sound system design, much of this manual will serve as a review for you. The basic features are presented in the “BRIEF OPERATING INSTRUC- TIONS” section. Check this and the “SPECIFICA- TIONS” section, and you will see most of w

7、hat you need to know. The balance of this manual provides background information for better utilization of the console and auxiliary equipment. If you would like to know more about AC power distribution and safety, grounding, balanced versus unbalanced cables, direct boxes, and so forth, this inform

8、ation is also presented. Check the TABLE OF CONTENTS. There are internal preset switches within the console which can be configured to change the func- tions and/or signal paths in certain circuits. Refer to the OPTIONAL FUNCTIONS section for details. Terminology and Typographic Conventions Generall

9、y, where we refer to a particular control or function as it is actually labeled on the console, we will use all upper case type. That is, if we refer to an input channels gain control, we may print “the input GAIN control.” On the other hand, if the feature is not labeled, we will use upper case typ

10、e only on the first letter; for example, “observe there is no identification of the input Fader.” If the front panel label is incom- plete or ambiguous, we may augment it. For example, the input channel pushbutton switches labeled “1, 2, 3, 4, 5, 6, 7, 8” may be accompanied by the parenthetic refere

11、nce “(group bus assign)“. Warning: To prevent fire or shock hazard, do not expose this appliance to rain or moisture. There are eight groups (or subgroups, depending on your linguistic preference). The group faders are known as “Group Master Faders”. Their function is to control the level on the eig

12、ht “Group Mixing Busses. The eight group busses are different and distinct from the eight “Auxiliary Mixing Busses. The Stereo Fader is actually a pair of closely spaced faders (L and R); when we refer to the general function, we use the term “Stereo Fader,” but if the availability of separate left

13、and right control is important, we may use the plural “Stereo Faders.” Particularly important information is distin- guished in this manual by the following notations: NOTE: A NOTE provides key information to make procedures or functions clearer or easier. CAUTION: A CAUTION indicates special proced

14、ures or guidelines that must be observed to avoid dam- age to the console or related equip- ment, or to avoid an undesirable result while using the console. WARNING: A WARNING indicates special procedures or guidelines that must be observed to avoid in- jury to the operator or others using or expose

15、d to the console or related equipment. In the BRIEF OPERATING INSTRUCTIONS section of this manual, each feature is provided with a numerical reference. Elsewhere, if we are referring to that feature, we may cite the reference number in square brackets for clarity. For example, on the input module, t

16、he fourth control to be described is the PAN pot. In other places on the console there are other PAN pots. For clarity, then, if we are discussing this particular input PAN pot, we will describe it like this: the PAN pot 2. Now, heres a real warning that Underwriters Laboratories says we have to pri

17、nt: Page A-1 Table of Contents Page Sect. Title Section 1. Introduction Section 2. Brief Operating Instructions 2-12.1PM4000 Front Panel Features 2-12.1.1 The Standard Monaural Input Module 2-72.1.2 The Stereo Input Module 2-122.1.3 The Master Module (1 - 8) 2-172.1.4 The Stereo Master Module 2-192.

18、1.5 The TB (Talkback) Module 2-222.1.6 The Monitor Module 2-252.1.7 The Meter Bridge 2-272.2 PM4000 Rear Panel Features 2-34 2.4 The PW4000 Power Supply Section 3. Specifications 3-1PM4000 Mixing Console General Specifications 3-2PW4000 Power Supply Specifications 3-3PM4000 Input Characteristics 3-3

19、PM4000 Output Characteristics 3-4Dimensional Drawings 3-7 Block Diagrams Section 4. Installation Notes 4-14.1 Planning An Installation 4-1 4.2Power Mains 4-14.2.1 Verify The Correct Mains Voltage 4-14.2.2 Ensure There is a Good Earth Ground 4-24.2.3 How To Obtain a Safety Ground When Using a 2-wire

20、Outlet 4-34.2.4 Improperly Wired AC Outlets: Lifted Grounds 4-34.2.5 Improperly Wired AC Outlets: Lifted Neutral 4-44.2.6 AC Safety Tips 4-44.2.7 Power Source Integrity 4-44.2.8 Turn-On Sequencing 4-54.3 Theory of Grounding 4-54.3.1 Why Is Proper Grounding Important? 4-64.3.2 Ground Loops 4-74.3.3 B

21、asic Grounding Techniques 4-84.3.4 Balanced Lines and Ground Lift Switches 4-94.4 Audio Connectors and Cables 4-104.4.1 Types of Cable To Use 4-104.4.2 Cable Layout 4-104.4.3 Balanced versus Unbalanced Wiring 4-134.4.4 The Pros And Cons of Input Transformers 4-144.4.5 Noise And Losses In Low and Hig

22、h Impedance Lines 4-15 4.5 Direct Boxes Page Sect. Title 4-154.5.1 Passive Guitar Direct Box 4-174.5.2 Active Guitar Direct Box 4-17 4.6 Configuring Equipment Racks Section 5. Gain Structure and Levels 5-15.1 Standard Operating Levels 5-25.2 Dynamic Range and Headroom 5-25.2.1 What Is Dynamic Range?

23、 5-25.2.2 The Relationship Between Sound Levels and Signal Levels 5-25.2.3 A Discussion Of Headroom 5-25.2.4 What Happens When The Program Source Has Wider Dynamics Than The Sound Equipment? 5-45.2.5 A General Approach To Setting Levels In a Sound System 5-45.2.6 How To Select a Headroom Value and A

24、djust Levels Accordingly 5-65.3 Gain Overlap And Headroom Section 6. Optional Functions 6-26.1 Removing and Installing A Module 6-36.2 Mono Input Direct Out Jack: Pre-Fader or Post-Fader (switch) Pre-ON or Post-ON Switch (jumper) 6-46.3 Mono Input Aux Sends: Pre Fader if signal processing of multipl

25、e inputs is required, it is necessary to run that Page 1-1 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. W

26、hats more, the VCA Master Fader, because it affects the input channel directly, can also alter that channels 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 PM40

27、00 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 avo

28、ided 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 channels on/off function to be re- motely controlled by the eight MASTER MUTE switches. Once a cha

29、nnel 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 acti- vated all at once, which expedites live sound mixing, band personnel or instrument changes, theatrical scene ch

30、anges, and so forth. If, however, it is imperative that a certain channel never be inadvertently muted, or that muting temporarily be overrid- den, the input channels MUTE SAFE switch can be engaged. Muting can also be controlled remotely, via a rear panel connec- tor, so automation here, too, is po

31、ssible. 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, differ- ent layer of master control of levels to facilitate tracking program changes

32、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. Thats why the console is available with up to 48 input channels, including stereo inputs. For added flexibility, the INSERT in jack(s) on

33、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

34、. 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 Figure 1-1. PM4000 Modules (Left-to-Right): Monaural Input

35、(24, 32, 40 or 48 in console), Stereo Input (at least 4 per console), Master, Stereo Master, Talkback, and Monitor Page 1-2 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

36、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

37、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 consoles outputs, and all other input channels will be muted

38、. 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/S

39、OLO 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

40、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

41、 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 connec- tor so the signal can be routed to other equi

42、pment 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 giv

43、es you a comprehensive view of signal levels in your system. PM4000 electronic performance is everything youd expect from the people who developed the PM3000. It is even more advanced, with lower noise levels than ever. Wide headroom throughout, exceptionally low distor- tion, and quiet controls are

44、 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 tr

45、ips on the road. A gray finish and subtly color coded controls set the backdrop for the PM4000s 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 inter- nally switchab

46、le 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 con

47、sole 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 youll find operating this console is very natural. and satisfying because you can make it do the job the way

48、you need it done. *Heat is generated by electronic components, and is the enemy of them. In some segments of the. industry (such as Las Vegas showrooms), it has been customary to leave equipment switched on 24 hours. This tradition grew out of the days when vacuum tube equipment was prevalent, and v

49、acuum tubes did last longer if they remained on rather than being switched. Solid state devices used in modern mixing consoles are less susceptible to damage from switching, but the heat build up sustained in continuous 24 hour operation will shorten component life. Therefore, its a good idea to turn off your equipment when it is not in use (unless you are in a very humid environment where the heat of operation wards off corrosion-causing, short-circuit-promoting moisture condensation). While the PM4000 remains cooler than its predecessors, thanks to cooling fans, it remains a pruden