YAMAHA PM5000 SERIES MIXING CONSOLES MAKE INDUSTRY DEBUT

—35 Bus Configuration Blends Familiar Analog Interface With
Digital Recall Capability—

DALLAS, TX (March 13, 2003)—Yamaha Corporation of America announces the NSCA and industry debut of the highly-anticipated PM5000 mixing console—an example of applied experience gained through 30 years of mixing console production. The PM5000 includes many new features based on the needs of the sound reinforcement market by retaining the logical layout and ergonomics of the industry-standard PM4000, while offering the control convenience, recall and versatility of the ground-breaking PM1D.

Yamaha PM5000

The PM5000 will be available in July in three configurations to meet the widest range of system requirements: 52 channels (48 mono/4 stereo); 36 channels (32 mono/4 stereo); and 28 channels (24 mono/4 stereo). All versions feature four stereo input modules as standard, and additional stereo modules (replacing mono modules) may be requested by special order. Features include: comprehensive input channel functions; versatile 35-bus configuration for FOH or monitor applications; 12 VCA groups and a 4 Stereo + 8 Mono matrix; a Variable Sum Gain control; and digital scene recall with Recall Safe function.

“There is a strong demand for analog consoles and their familiar, efficient user interfaces, as well as digital-style recall capability,” states Larry Italia, general manager, Yamaha Commercial Audio Systems division. “The PM5000 has been engineered to fulfill those needs and serve as a worthy successor to the successful PM4000.”

Yamaha PW5000

With the PM5000, the elements of sound quality have been taken to the highest level through updated circuit design, grounding and parts selection. Particular attention has been paid to areas that have the greatest influence on the sound—head amplifiers, equalizers and VCAs. The result is clean, well-defined sound quality.

Although the PM5000 handles all audio signals in the analog domain, it also offers advanced digital scene recall capability. Recallable parameters include channel ON/OFF, assignments and fader positions. Up to 990 complete scenes with user-assigned titles can be stored in the onboard memory or external Flash memory cards. Because motorized faders, illuminated switches and LED indicators immediately respond to the recalled parameters, console status can be visually confirmed in an instant. The RECALL SAFE function (inherited from the Yamaha PM1D) has also been included in the PM5000 scene recall system.

Mono input channels feature: phantom power and 26 dB pad switches; continuous 50dB gain trim; a phase switch; variable-frequency 12dB/octave high-pass filters; 4-band fully parametric EQ (HIGH and LOW bands can be switched to shelving operation); and insert I/O (pre/post-EQ switchable). L-C-R panning which uses the mono bus as the center channel is also provided as an option to standard L-R panning. CSR (Center-Side Ratio) control is provided for the L-C-R mode. Stereo modules include all of the above functions, with the exception of L-C-R panning, plus an L+R switch.

The PM5000 offers total convenience, quality, and control, whether configured as 12 stereo and 8 mono auxiliary buses for FOH operation, or as 32 (12 stereo + 8 mono) auxiliary buses for monitor applications. The 35 buses include: 12 stereo aux buses; 8 group/aux buses; a stereo buss; and mono (center) bus. The 8 group/auxiliary buses can be switched for group or aux operation in pairs. When set up as group buses, either the input-channel pre- or post-pan signal may be selected as the source. Stereo aux master sections feature L+R switches, and may be used as mono sends, as required.

The 12 VCA groups may be cascaded with another PM5000 console, or with VCAs 1 through 8 on models PM4000 or PM3500. A 4 stereo + 8 mono matrix mix section is also available for all 35 buses, providing up to 16 possible mono matrix sub-mixes for large system applications.

New SUM GAIN controls are included pre-fader on all master sections, providing variable 0 through 20dB attention immediately prior to the corresponding summing amplifiers.

“Previously, when overload or clipping occurred at a console’s summing amplifiers, it was necessary to adjust the input channel fader and/or head amplifier levels of all related channels,” notes Dan Craik, product manager, Yamaha Commercial Audio. “Sum Gain conveniently eliminates the need to readjust numerous channel level settings.”

For more information, contact Yamaha Corporation of America, Commercial Audio Systems Division, P.O. Box 6600, Buena Park, CA 90622, telephone 714-522-9011, email infostation@yamaha.com or visit www.yamaha.com/proaudio.