Yamaha Pm-1000 User manual

FOUR

DOLLARS,

INTRODUCTION

The

PM-1000

is

a

4-bus

mixing

console

with

16,

24

or

32

input

channels.

Yamaha

engineers,

in

cooperation

with

soundmen,

mixers

and

performers,

designed

this

board

to

meet

with

widely

varied

demands

of

professional

sound

reinforcement,

as

well

as

studio

applications.

Modular

construction

and

all

solid

state

circuitry

assure

reliability

and

ease

of

maintenance.

To

enhance

its

appearance,

the

console

is

finished

with

durable,

black-anodized

aluminum

panels

and

housed

in

a

handsome

rosewood

cabinet

with

a

padded

armrest.

Carrying

handles

on

the

side

panels

and

a

padded

leatherette

cover

are

included

as

standard

equipment.

Every

console

is

delivered

complete

with

a

full

complement

of

modules,

and

ready

for

use.

Trans-

former

isolated

inputs

and

outputs,

plus

a

precision,

wide-range

input

sensitivity

selector

on

each

channel

help

simplify

installation

and

optimize

performance

with

virtually

any

type

of

audio

system. Further

convenience

is

afforded

by

the

many

XLR

connectors,

phone

jacks

and

stereo

phone

jacks

that

carry

all

input

and

output

signals.

The

PM-1000

is

built

to

exacting

standards.

It

is

light,

yet

rugged

enough

to

sustain

the

kind

of

punishment

that

often

occurs

in

portable

applications.

For

fixed

installations,

the

console

has

all

the

features

and

appearance

of

many

larger,

custom

boards.

Top

of

the

line

performance

at

an

economical

price

sets

the

PM-1000

in

a

class

by

itself.

————

INDEX

IDENTIFICATION

OF

PARTS

&

CONTROLS

SECTION

ONE

MAIN

COMPONENTS

&

SUB

ASSEMBLIES

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SECTION

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DEFINITION

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INPUT

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CHARACTERISTICS

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CABLE

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WIRING

CONFIGURATIONS

.....................................

6

PADS,

TRANSFORMERS

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11

HOW

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CONSOLE

SECTION

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MAINTENANCE,

REPAIR

&

WARRANTY

SERVICE

SECTION

SEVEN

GENERAL

MAINTENANCE

МОТЕб5.............................................

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1

ACCESS

TO

THE

CONSOLE

INTERIOR

...............................................

1

POWER

SUPPLY

REMOVAL,

REPLACEMENT

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220-240V

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СОМУЕНБІОМ.....................

1

INPUT,

MASTER,

HEADPHONE

&

TALKBACK

MODULE

REMOVAL

&

REPLACEMENT.............

2

WARRANTY

&

FACTORY

ASSISTANCE

..............................................

3

YAMAHA

PM-1000

PRODUCT

МУАВВАМТҰ............................................

3

TWENTY-FOUR

&

THIRTY-TWO

CHANNEL

CONSOLES

SECTION

EIGHT

GENERAL

DESCRIPTION:

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IDENTIFICATION

OF

PARTS

AND

CONTROLS

MAIN

COMPONENTS

&

SUB

ASSEMBLIES*

Input

(x

16)

Armrest

*Many

times

there

is

more

than

one

label

appropriate

to

a

console

control

or

function.

Depending

on

the

specific

application

or

the

industry

(recording

or

sound

reinforcement),

the

nomenclature

will

vary.

To

avoid

confusion

in

this

manual,

wherever

possible,

we

will

try

to

refer

to

the

nomenclature

actually

printed

on

the

Meter

Panel

Headphone

Jacks

Master

and

Monitor

Module

(x

4)

Headphone

and

Echo

Module

Talkback

and

Oscillator

Module

console.

Where

function

may

be

unclear,

an

alternate

term

may

be

printed

in

parentheses.

Some

examples

of

this

alternate

terminology

are:

Echo

(foldback

or

stage

monitor),

Monitor

(speaker

feed),

Line

Output

(program

output),

and

Sub

In

(auxiliary

input).

THE

INPUT

MODULE

A.

PHASE

SWITCH

Reverse

the

polarity

of

the

audio

signal

entering

the

input

module.

This

switch

eliminates

the

need

to

rewire

connectors

for

out-of-phase

audio

sources.

Sliding

the

switch

from

N

(normal)

to

R

(reverse)

interchanges

the

leads

joining

pins

2

and

3

of

the

XLR

connector

to

the

input

transformer's

primary

winding.

NOTE:

PM-1000

XLR

connectors

are

wired

according

to

DIN

Standards;

2

high

and

З

low.

Refer

to

the

Installation

Section

for

details.

Vorma/

phase

for

this

console

means

that

a

positive

voltage

applied

to

2

at

the

input

causes

a

positive

voltage

to

appear

at

2

of

the

XLR

outputs.

B.

OUTPUT

ASSIGN

(BUS

ASSIGN)

SWITCHES

Apply

audio

from

the

input

module

to

any

combination

of

the

four

program

mixing

buses.

Latching

switches

1,

2,

Запа

4

either

individually

or

in

any

combination

assign

post-equalizer

and

fader

audio

to

correspondingly

numbered

buses.

As

described

below,

adjusting

the

Pan

pot

to

either

side

of

center

alters

the

level

applied

to

the

four

program

mixing

buses.

C.

PAN POT

adjusts

the

relative

output

level

available

to

the

four

program

mixing

buses.

Panning

to

the

center

position

provides

equal

output

at

full

post-fader

ievel

to

all

four

Output

assign

switches.

In

other

words,

the

program

is

centered

in

four

buses.

Panning

to

the

left

gradually

removes

audio

from

the

feed

to

buses

2

and

4,

maintaining

full

output

to

buses

1

and

3.

Conversely,

panning

to

the

right

gradually

removes

the

output

from

buses

1

and

3,

maintaining

full

output

in

buses

2

and

4.

The

/eft

and

right

designations

are

arbitrary,

based

on

the

rotation

of

the

pan

pot;

they

refer

to

the

use

of

the

console's

line

outputs

for

driving

stereo

or

4-channel

recorders

and/or

loudspeaker

systems.

D.

ECHO

1

AND

ECHO

2

(ECHO

MIX

CONTROLS)

Adjust

the

module's

output

to

each

of

two

auxiliary

mixing

buses.

These

controls

apply

pre-fader,

post-equalizer

audio

to

the

correspondingly

numbered

echo

mixing

buses.

The

audio

on

these

buses

can

be

fed

to

external

reverbs,

echo

devices

or

tape

delay

units.

In

addition,

the

echo

outputs

are

ideally

suited

to

driving

performers'

cue

headphone

systems

or

stage

monitor

(foldback)

systems;

these

applications

require

external

power

amplifiers.

E.

EOUALIZER

Alters

the

frequency

response

of

the

input

module

in

order

to

create

a

tremendous

variety

of

tonal

characteristics.

The

Mid-Range

control

acts

on

any

of

three

presence

frequencies

(1kHz,

2kHz

or

4kHz),

as

determined

by

the

Mid-

Range

Select

Switch.

Mid-Range

provides

*

15dB

of

continuously

variable

peaking

equalization.

The

Bass

and

Treble

controls

provide

*

15dB

of

continuously

variable

shelving

equalization

at

100Hz

and

10kHz

respectively.

Centering

the

three

equalizer

controls

provides

flat

audio

response

by

defeating

all

equalization.

F.

HIGH

PASS

(LOW

CUT)

FILTER

Switch-actuated

12dB/octave

high

pass

filter.

The

filter

follows

the

equalizer,

affecting

the

output

to

the

cue,

echo

and

program

mixing

buses.

The

switch

has

three

positions:

OFF

bypasses

the

filter

entirely:

40

attenuates

audio

below

40Hz;

80

attenuates

audio

below

80Hz,

the

most

pronounced

filter

effect.

G.

INPUT

LEVEL

(INPUT

SENSITIVITY)

SWITCH

A

precision

4-stage

switch

that

varies

the

preamplifier

gain

and/or

attenuates

the

incoming

signal.

Input

Level

affects

all

outputs

from

the

module.

It

provides

optimum

results

with

virtually

any

input,

from

-60dB

to

+4dB.

When

correctly

adjusted,

Input

Level

permits

the

input

faders

and

echo

mix

controls

to

be

used

in

their

best

range

—

with

maximum

headroom

and

minimum

noise

characteristics.

The

switch

has

11

settings:

-60,

-50,

-44,

-38,

-32,

-26, -20,

-14,

-8,

-2

and

+4dB,

each

corresponding

to

a

nominal

input

level

(i.e.,

-GOdB

is

not

a

60dB

pad,

but

is

the

most

sensitive

characteristic

for

nominal

-60dB

inputs).

H.

CHANNEL

FADER

(INPUT

FADER)

A

straightline

control

which

provides

continuously

variable

adjustment

of

the

module's

output

to

the

program

mixing

buses,

completely

killing

the

signal

at

the

bottom

of

its

travel.

The

fader

has

no

effect

on

the

echo

or

cue

outputs

of

the

module.

1.

CUE

(PREVIEW/SOLO)

BUTTON)

Applies

audio

to

an

auxiliary

cue

mixing

bus

when

the

button

is

depressed.

The

cue

bus

is

fed

with

pre-fader,

post-equalizer

audio.

Since

the

cue

feed

is

unaffected

by

the

channel

fader

or

the

echo

mix

controls,

the

incoming

signal

may

be

previewed

prior

to

assigning

any

audio

to

the

program

mixing

or

echo

mixing

buses.

Cue

is

monitored

via

the

headphone

output.

MASTER

AND

MONITOR

MODULE

A.

DIRECT/PLAYBACK

(OUTPUT

SOURCE

SELECT)

SWITCH

Selects

the

audio

source

applied

to

the

master

module’s

input.

Direct

mode

derives

audio

from

the

program

mixing

bus

numbered

to

correspond

to

the

module

(or

from

any

source

plugged

into

the

Master

In

jack).

Playback

(PB)

mode

derives

audio

from

the

correspondingly

numbered

PB

іп

jack.

In

practice,

the

Direct/

PB

switch

selects

between

a

live

program

and

a

recorded

program

to

drive

the

console

output.

B.

MONITOR

MIX

(SPEAKER

MIX)

CONTROLS

These

rotary

level

controls,

labeled

CH-1

through

CH-4,

derive

audio

from

the

line

outputs

of

master

modules

1-4.

A

monaural

mixdown

of

the

line

out-

puts

is

obtained

by

adjusting

the

four

monitor

mix

controls.

This

mono

mix

is

brought

to

the

Monitor

Out

jack,

where

it

can

drive

a

power

amplifier

for

one

or

more

loudspeakers.

Since

there

are

four

master

modules,

each

with

an

identical

complement

of

four

monitor

mix

controls,

up

to

four

distinct

speaker

mixes

can

be

derived

from

the

original

four

line

outputs.

This

is

known

as

a

4x4

matrix

with

level

controls.

C.

MONITOR

MASTER

(SPEAKER

LEVEL)

CONTROL

Provides

overall

level

control

for

the

mono

mix

created

with

the

monitor

mix

controls

immediately

above

it.

When

the

four

monitor

out-

puts

are

driving

different

loudspeakers,

the

Monitor

Masters

adjust

the

balance

between

speaker

feeds.

This

4x4

matrix

arrangement

offers

far

more

flexi-

bility

for

speaker

feeding

than

would

be

available

if

the

speakers

were

driven

directly

from

the

four

line

outputs

(Line

A

or

Line

B).

D.

MASTER

FADER

(GROUP

MASTER)

Sets

the

overall

signal

level

applied

to

the

main

program

out-

puts

of

the

console,

Line

A

and

Line

B.

(Line

A

&

B

are

identical,

redundant

outputs,

each

consisting

of

four

connectors

that

derive

audio

from

the

Direct/

PB

switches.)

The

Master

fader

governs

the

corres-

pondingly

numbered

line

outputs,

whether

derived

from

the

program

mixing

bus

(in

Direct

mode)

or

the

Playback

input

(in

PB

mode).

Together,

the

four

faders

are

useful

for

balancing

the

levels

of

different

groups

of

inputs

that

have

been

assigned

to

the

four

mixing

buses;

in

this

capacity,

the

faders

are

Group

Master

controls.

ONIE4

HEADPHONE

AND

ECHO

MODULE

A.

ECHO

SEND

(FOLDBACK)

MASTER

CON-

TROLS

Provide

overall

level

control

for

echo

mixing

buses

1

and

2.

The

audio

mixes

established

with

the

echo

mix

controls

in

each

input

module

pass

through

the

Echo

Send

Masters,

and

drive

the

Echo

Out

jacks.

When

the

echo

outputs

are

connected

to

foldback

мед

(stage

monitor)

or

performers’

headphone

systems,

these

master

controls

determine

the

monitor

volume.

When

the

echo

outputs

are

connected

to

an

echo

or

reverb

device,

the

Master

controls

determine

the

level

of

the

delay

effect.

B.

HEADPHONE

MIX

PUSHBUTTONS

This

por-

tion

of

the

module

consists

of

two

rows

of

push-

buttons,

each

row

capable

of

selecting

any

combina-

tion

of

five

audio

sources.

The

left

and

right

rows

feed

audio

to

the

left

and

right

sides

of

the

head-

phone

output.

The

five

available

sources

are:

pro-

gram

mix

bus

1

through

program

mix

bus

4,

and

the

B

cue

bus.

When

more

than

one

pushbutton

per

row

is

latched,

the

selected

audio

sources

are

blended

in

equal

proportions.

C.

HEADPHONE

LEVEL

CONTROL

Simulta-

neously

adjusts

the

overall

volume

of

the

left

and

right

headphone

feeds.

This

stereo

output

is

available

at

two

stereo

phone

jacks.

The

jacks

are

wired

in

parallel

so

as

to

drive

one

or

two

pairs

of

stereo

headphones.

TALKBACK

AND

OSCILLATOR

MODULE

A.

OUTPUT

ASSIGN

SWITCHES

When

latched,

D

switches

1

through

4

apply

the

module’s

output

to

program

mixing

buses

1

through

4.

(16-channel

con-

soles

manufactured

after

February,

1976

(serial

no.

1542

&

up),

and

all

24

and

32-

channel

consoles

have

two

additional

buttons.

These

assign

the

module

output

to

Echo

Mix

buses

1

and/or

2.)

Depending

on

E

the

status

of

the

talkback

button,

the

output

will

be

either

a

vocal

signal

from

the

talkback

mic

input,

or

a

test

tone

from

the

built-in

oscillator.

B.

OSCILLATOR

FUNCTION

SWITCH

Turns

the

oscillator

OFF,

or

sets

it

for

constant

sine

wave

gen-

eration

at

1,000

Hz

or

at

7,000

Hz.

C.

TALKBACK

MICROPHONE

CONNECTOR

Accepts

any

low

impedance

microphone

for

use

with

the

talkback

circuitry.

D.

TALKBACK

LEVEL

CONTROL

Adjusts

the

talk-

back

microphone

preamplifier

gain.

This

control

affects

only

the

talkback

level,

not

the

oscillator.

E.

TALKBACK

BUTTON

Pressing

this

button

activates

the

talkback

mic.

If

the

oscillator

is

already

switched

on,

pressing

Talkback

interrupts

the

oscillator

and

sub-

stitutes

audio

from

the

talkback

preamplifier.

Headphone

&

Talkback

&

Echo

Module

Oscillator

Module

METER

PANEL

1

B

D

A.

MAIN

(PROGRAM

OUTPUT)

VU

METER

Four

illuminated

meters

that

provide

a

visual

indication

of

the

average

audio

output

level

from

Master

and

Monitor

modules

1

through

4.

Depending

on

the

setting

of

the

function

switch,

each

meter

displays

either

the

Master

(Line

Out)

or

Monitor

Out

level.

A

zero

VU

indication

is

equivalent

to

*4dBm

output

into

a

600-ohm

termination.

REAR

PANEL

f

A

CD

Ẹ

H

G

B

JIK

F

A.

POWER

FUSES

Protect

the

primary

(line)

and

secondary

(low

voltage)

portions

of

the

console’s

power

supply.

B.

POWER

CORD

CONNECTOR

Accepts

the

AC

power

cord

provided

with

the

console.

PM-1000

con-

soles

delivered

in

the

U.S.A.

and

in

Canada

are

equipped

with

grounded

(3-wire)

AC

cords

for

connection

to

50

or

60Hz,

110-120Vrms

AC

power

mains.

The

console

draws about

45

Watts,

or

0.5

Amps

(90

Watts

for

24/32

consoles).

C.

MASTER

OUT

&

MASTER

IN

Provide

a

patch

point

between

the

program

input

to

the

Master

and

Monitor

module

and

the

input

to

the

Direct/PB

switch.

The

jacks

are

wired

to

accept

standard

phone

plugs.

Their

nominal

operating

level

is

-20dB

(for

high

impedance

circuits).

D.

LINE-A-OUT

AND

LINE-B-OUT

JACKS

(PRO-

GRAM

MIX

OUT)

These

are

redundant

outputs.

Line

A

and

B

each

consist

of

four

jacks,

and

the

signal

is

derived

from

the

Master

Faders.

The

nominal

output

is

+4dBm

(for

600-ohm

termination),

and

the

con-

nectors

accept

XLR

type

3-pin

female

plugs.

*

E.

MONITOR

OUT

(SPEAKER

FEED)

JACKS

Carry

the

console

output

from

the

Monitor

Mix

(Speaker

Matrix)

section.

Each

Mon

Out

jack,

1

through

4,

carries

audio

from

the

correspondingly

numbered

Monitor

Master

control.

The

outputs

are

nominal

+4dBm

(for

600-ohm

termination),

and

the

connectors

accept

XLR

type

3-pin

female

plugs.”

F.

CHANNEL

INPUT

JACKS

Numbered

1

through

16,

the

Input

jacks

accept

audio

from

any

low

impedance,

balanced

or

floating

audio

source

from

-60dB

to

+4dB

nominal

level.

The

inputs

are

balanced

and

trans-

former-isolated,

but

auxiliary

matching

transformers

tSee

Section

8

for

24/32

Consoles.

B.

METER

FUNCTION

SWITCH

Two-position

slide

switch

allows

use

of

the

associated

VU

meter

for

monitoring

either

of

two

console

outputs,

Master

(Line)

or

Monitor.

The

Master

indication

is

derived

from

the

Line

Out

A

jack,

and

the

Monitor

reading

is

derived

from

the

Monitor

Out

jack

that

corresponds

in

number

to

the

VU

meter.

C.

ECHO

OUTPUT

VU

METER

Two

illuminated

VU

meters

provide

a

visual

indication

of

the

signal

level

at

the

Echo

1

and

Echo

2

outputs.

When

driving

monitor

(foldback)

systems

from

the

echo

outputs,

these

meters

indicate

the

stage

monitor

level.

A

zero

VU

indication

is

equivalent

to

a

+4dBm

output

into

a

600-ohm

termination.

D.

MAIN

POWER

(AC

ON/OFF)

SWITCH

Pushbutton

alternately

switches

the

AC

power

on

and

off.

No

audio

passes

through

the

console

when

power

is

off.

are

recommended

for

unbalanced,

high-impedance

inputs.

The

connectors

accept

XLR

type

3-pin

male

plugs.

G.

SUBMIXER

INPUT

JACKS

Numbered

1

through

4,

these

jacks

accept

audio

from

a

low

impedance,

low

level

source,

such

as

the

Yamaha

PM-400B

mixer.

The

Sub

In

jacks

are

designed

for

nominal

-20dB

levels,

and

accept

XLR

type

3-pin

male

plugs."

Audio

from

Sub

In

is

applied

to

the

program

bus

ahead

of

the

Master

Faders,

thus

the

Master

Faders

control

the

Sub

In

level.

H.

PLAYBACK

INPUT

JACKS

Numbered

1

through

4,

the

PB

In

jacks

accept

audio

from

a

low

impedance,

low

level

tape

machine

output.

This

audio

is

applied

to

the

PB

side

of

the

Direct/PB

switch

in

the

correspondingly

numbered

Master

and

Monitor

module.

The

PB

In

jacks

are

designed

for

-20dB

levels

and

accept

XLR

type

3-

male

plugs.

*

I.

ECHO

OUTPUT

(FOLDBACK

OUT)

JACKS

Carry

the

console

output

from

Echo

Send

1

&

2

Masters.

The

Echo

Out

jacks

are

transformer-isolated,

nominal

*4dBm

(for

600-ohm

termination),

and

they

accept

XLR

type

3-pin

female

plugs."

As

discussed

previously,

these

jacks

may

be

used

to

drive

foldback

(stage

monitor)

amplifiers

or

performers'

headphone

amplifiers.

J.

TALKBACK

OUTPUT

JACK

Carries

the

output

of

the

Talkback

&

Oscillator

module,

even

if

the

module's

bus

assign

switches

are

not

latched.

The

TB

Out

jack

can

be

connected

to

a

power

amplifier,

directly

to

head-

phones,

or

to

any

point

where

the

oscillator

or

talkback

signal

is

needed.

For

calibrated

operation

with

optimum

fidelity,

TB

Out

delivers

+4dBm

into

a

600-ohm

ter-

mination.

The

connector

accepts

an

XLR

type

3-pin

female

plug.

*

K.

PHANTOM

POWER

SWITCH

Connects

the

48Vdc

phantom

power

supply

to

the

center

tap

of

all

input

transformer

primary

windings.

24/32

consoles

have

switches

for

each

input.

Recommended

procedure

is

to

turn

off

the

phantom

power

whenever

condenser

microphones

are

not

used;

however,

the

“phantom”

switch

may

be

left

on

without

damaging

most

standard

microphones,

line

inputs,

or

the

phantom

supply.

*Refer

to

the

Installation

Section

of

this

Manual

for

information

regarding

the

polarity

of

all

ХІ

В

connectors.

SPECIFICATIONS

SECTION

TW

GENERAL

SP

ECIFICATIONS

see

Section

8

for

those

specifications

which

differ

on

24

and

32

channel

consoles.

Frequency

Response

Total

Harmonic

Distortion

Hum

and

Noise*

(20Hz

-

20kHz)

Maximum

Voltage

Gain

(Input

Selectors

at

-60dB,

where

applicable)

Equalization

High

Pass

Filter

Oscillator

Talkback

Inputs

to

Console

Mixing

Buses

Console

Outputs

Crosstalk

VU

Meters

(0

VU=+4dBm)

Phantom

Power

Supply

Finish

Dimensions

Weight

Accessories

Warranty

+0,

-4dB,

20Hz

-

20kHz;

+0.5dB,

50Hz

-

15kHz.

Less

than

0.25%

©

+10dB,

20Hz

-

20kHz;

Less

than

0.596

@

+20dB,

70Hz

-

15kHz.

-124dBm

Equivalent

Input

Noise

(E.I.N.).

-69dB

(73dB

S/N)

Line

Out

A

&

B:

Master

Fader

at

nominal

level

and

all

Input

Faders

down.

-60dB

(64dB

S/N)

Line

Out

A &

B:

Master

Fader

and

one

Input

Fader

at

nominal

level.

-63dB

(67dB

S/N)

Echo

Out:

Master

Send

at

nominal

level

and

all

Echo

Mix

Controls

down.

-54dB

(58dB

S/N)

Echo

Out:

Master

Send

and

one

Echo

Mix

Control

at

nominal

level.

PROGRAM

—

74*24B

from

Channel

In

to

Line

Out

A

&

B.

48*

2dB

from

Channel

In

to

Master

Out.

MONITOR

—

74+

2а4В

from

Channel

іп

to

Monitor

Out.

ECHO

—

74+

2dB

from

Channel

In

to

Echo

Out.

SUB

IN

—

30+

2dB

from

Sub

In

to

Line

Out

A

&

B.

PB

IN

—

30*

2dB

from

PB

In

to

Line

Out

A

&

B.

MASTER

—

32+

2dB

from

Master

In

to

Line

Out

A

&

B.

BASS

—

+15dB

@

100Hz,

shelving.

MID-RANGE

—

+15dB

@

1kHz,

2kHz

or

4kHz;

peaking.

TREBLE

—

+15dB

©

10kHz,

shelving.

12dB

per

octave

roll-off

below

40Hz

or

8ОН2.

1kHz

or

7kHz

sine

wave,

+4dBm

@

<1.0%

THD.

Microphone

input

jack,

preamp,

level

control,

and

push-to-talk

switch;

to

pgm.

buses

and/or

direct

out.

16

x

Channel

Inputs

(microphone

and

line

sources).

4

x

Sub

In

(Submixer

input).

4x

Master

In

(Hi-Fi

auxiliary

program

input).

4

x

PB

In

(Playback

input).

1

x

Talkback

Mic

In.

4

x

Main

Program

(Line

Out).

4

x

Monitor

(Speaker

feed).

2

x

Echo

(Foldback/stage

monitor).

1

x

Cue

(Preview).

8

x

Line

(4

Line

A,

4

Line

B).

4

x

Monitor

(Speaker

feed).

4

x

Master

(Hi-Fi

auxiliary

program

output).

2

x

Echo

(Foldback/stage

monitor).

1

x

Talkback

(Talkback

mic

or

oscillator

out).

2

x

Stereo

Headphone

(Console

operator's

monitor).

-60dB

at

1,000Hz,

adjacent

inputs,

-50dB

at

1,000Hz,

input

to

output.

4

x

large,

illuminated

meters;

switchable

for

Master

(Line

Out)

or

Monitor

(Monitor

Out).

2

x

small,

illuminated

meters;

Echo

(Foldback)

Out.

48Vdc

applied

to

balanced

channel

input

transformers

for

powering

condenser

microphones.

May

be

turned

On

or

Off

with

rear-panel

switch.

Self-contained

module

inside

console,

fused

and

fully

regulated.

Requires

110-120

VAC,

50-60Hz,

45

Watts.

May

be

modified

for

220-240V

AC

operation.

Black

anodized

aluminum

panels,

padded

armrest,

rosewood

veneer

cabinet.

34%"

(87.2cm)

wide

X

34%"

(87.5cm)

deep

X

11”

(27.7ст)

high.

110

pounds

(50kg).

Integral

carrying

handles

and

removable

leatherette

cover

are

included

with

console.

One

year,

parts

and

labor.

*Measured

with

6dB/octave

filter

@

12.47kHz:

equivalent

to

a

20kHz

filter

with

infinite

dB/octave

attenuation.

ТО

2

DEFINITION

OF

TERMS:

UNBALANCED,

BALANCED

&

FLOATING

Unbalanced,

balanced

and

floating

circuits

may

all

be

transformer-isolated.

The

distinction

between

them

lies

in

the

way

the

circuits

are

referenced

to

ground

(audio

common).

A

FLOATING

circuit

has

no

ground

refer-

ence,

as

illustrated

by

the

primary

of

the

РМ-1000%

Sub

In,

PB

In,

and

Talkback

Mic

input

transformers

and

by

the

secondary

windings

of

the

Line

Out,

Monitor

Out,

Echo

Out

and

Talkback

Out

transformers.

The

PM-1000’s

input

channel

transformer

primaries

are

BALANCED

by

virtue

of

their

center

taps.

A

bal-

anced

circuit

requires

either

a

center

tapped

transformer,

or

resistors

from

each

side

of

the

transformer

to

ground;

either

condition

places

both

sides

of

the

transformer

at

an

equal

difference

from

ground

potential.

іп

other

words,

the

transformer

is

balanced

with

respect

ground.

Any

circuit

which

causes

one

side

of

an

input

or

out-

put

to

be

grounded

is

considered

an

unbalanced

circuit,

unbalanced

in

that

both

sides

of

the

circuit

are

at

dif-

ferent

potentials

with

respect

to

ground.

Most

non-

transformer

connections,

including

the

PM-1000's

Master

In

and

Master

Out

jacks,

are

unbalanced

(there

are

exceptions,

but

they

are

rare).

Typical

unbalanced

audio

sources

are:

direct

feeds

from

electric

instruments,

from

power

amplifiers,

and

from

high

fidelity

tape

machines.

In

order

to

obtain

best

results

when

using

these

devices

with

the

PM-1000's

channel

inputs,

a

matching

transformer

should

be

inserted

at

the

remote

device.

The

transformer

prevents

the

console's

input

transformer

from

becoming

un-

balanced,

which

may

induce

noise

and

crosstalk.

Also,

the

matching

transformer

provides

the

best

impedance

match

for

high

impedance

sources.

Typical

floating

sources

(which

maintain

a

balanced

condition

in

the

PM-1000

channel

inputs)

are:

micro-

phones,

transformer-isolated

submixers,

and

virtually

any

transformer-isolated

output

from

auxiliary

pro-

fessional

equipment.

DEFINITION

OF

TERMS:

dB,

dBV,

dBm

and

dB

SPL

The

term

dB,

which

means

decibel

(1/10th

of

a

Bel)

expresses

a

ratio.

More

precisely,

dB

is

10

times

the

logarithm

of

a

power

ratio

and

20

times

the

logarithm

of

a

voltage

or

sound

pressure

ratio.

dBV

expresses

a

voltage

ratio.

It

is

not

directly

current

or

circuit

impedance.

The

0

dBV

refer-

ence

is

usually

1V

rms.

dBm

expresses

a

power

ratio.

It

is

the

voltage

or

current

across

a

low

impedance.

The

0

dBm

reference

is

0.775Vrms

in

a

600-ohm

circuit,

which

is

equal

to

1

milliwatt

at

600

ohms.

dB

SPL

expresses

an

acoustic

pressure

(not

power)

ratio.

The

O

dB

SPL

reference

is

approximately

the

threshold

of

human

hearing

at

1kHz,

which

is

equal

to

0.0002

dynes/cm2.

dB

expresses

the

difference

between

two

levels

(power,

voltage

etc.)

and

is

a

relative

term.

The

difference

between

+10dBm

and

+4dBm

is

6dB.

The

difference

between

-20dBV

and

-10dBV

is

10dB.

dBV

and

dBm

are

not

numerically

equal

when

dealing

with

600-ohm

circuits,

although

they

are

close

(OdBV

is

2.2dBm

at

600

ohms).

As

the

impedance

is

changed

to

other

than

600-ohms

(given

a

constant

voltage),

the

value

of

dBV

remains

constant

while

the

value

of

dBm

changes.

Consider

а

+4dBm

output

terminated

by

600

ohms;

the

voltage

level

is

+1.8dBV.

This

circuit

has

a

voltage

drop

of

1.23V

rms,

and

a

power

dissipation

of

2.5

milliwatts.

If

the

voltage

now

remains

constant,

but

the

termination

is

changed

to

1200-ohms,

the

power

dissipation

drops

to

1.23mW,

+1dBm.

Since

the

power

dissipation

in

high

impedance

cir-

cuitry

is

negligible,

"dBV"'

is

sometimes

used

to

express

signal

levels

in

high

impedance

lines.

“dBm”

is

com-

monly

used

to

express

signal

(power)

levels

in

low

impedance

lines,

roughly

between

4

and

1200-ohms.

To

avoid

confusion,

we

use

the

term

"dB"

to

represent

a

specific

voltage,

whether

it

is

applied

to

a

low

or

a

high

impedance.

OdB

is

referenced

to

0.775V,

and

OdBm

is

referenced

to

1mW

(0.775V

driving

a

600-ohm

termina-

tion).

For

example,

when

12.3V

is

fed

to

a

high

impedance,

the

level

is

designated

“+24dB.”

When

+24

dB

(12.3

volts)

drives

a

600-ohm

termination,

the

level

is

designated

"*24dBm."

An

increase

of

3dB

is

equivalent

to

2

X

the

power.

An

increase

of

10dB

is

equivalent

to

10

X

the

power.

A

decrease

of

3dB

is

equivalent

to

1/2

the

power.

A

decrease

of

10dB

is

equivalent

to

1/10

the

power.

An

increase

of

6dB

is

equivalent

to

2

X

the

voltage

or

SPL.

An

increase

of

20dB

is

equivalent

to

10

X

the

voltage

or

SPL.

A

decrease

of

6dB

is

equivalent

to

1/2

the

voltage

or

SPL.

A

decrease

of

20dB

is

equivalent

to

1/10

the

voltage

or

SPL.

The

open

circuit

voltage

output

of

a

low-Z

micro-

phone

(in

dBV),

given

a

94dB

SPL

sound

field,

is

approx-

imately

equal

to

the

microphone's

rated

EIA

sensitivity.

If

the

sound

level

at

the

mic

is

higher

than

94dB

SPL,

add

the

difference

to

the

EIA

rating,

and

if

the

level

is

below

94dB

SPL,

subtract

the

difference

from

the

EIA

rating.

Thus,

a

mic

rated

at

-bOdB

EIA

sensitivity,

placed

in

a

104dB

SPL

environment,

will

yield

about

-40dBV

(-37.8dB,

or

10mV)

output.

INPUT

&

OUTPUT

CHARACTERISTICS

INPUT

SPECIFICATIONS

IMPEDANCE

Connection

Actual

Nominal

Source

SENSITIVITY*

INPUT

LEVEL

Connector

(At

Max.

Gain)

Nominal*

Max.before

Clip.

In

Console

Inputs

(1-16)

PB

&

Sub

In

(1-4)

Master

In

(1-4)

1700

О,

balanced

2300

Q,

floating

9000

О,

unbal.

150

О

Mics

&

600

N

Lines

600

О

Lines

&

Instruments

5k

О

Lines

&

Instruments

0.25mV

(-70dB)

0.8mV

(-60dB)

12.3V

(*24dB)

XLR-3-31

40mV

(-26dB)

80mV

(-20dB)

3.2V

(*12dB)

XLR-3-31

З1тУ

(-28dB)

62mV

(-22dB)

12.3V

(+24dB)

Phone

Jack

Talkback

Mic

2300

Q,

floating

150

Q

Mics

8mV

(-40dB)

2.5mV

(-50dB)

1.23V

(*4dB)

XL

R-3-31

OUTPUT

SPECIFICATIONS

IMPEDANCE

POWER

OUTPUT

LEVEL

Connector

Connection

Actual

Nominal

Load

Nominal

Max.

before

Clipping

In

Console

m

Line

A

(1-4)

Line

B

(1-4)

Monitor

(1-4)

100

О,

floating

600

0.

1.23V

(+4dBm)

10.8У

(ғ2212аВт)

XLR-3-32

Echol

&2

Talkback

Master

Out

(1-4)

200

О,

unbal.

5,000

Q

62mV

(-22dB)

2.1V

(+9dB)

Phone

Jack

Headphones

3.2

О,

unbal.

8

О

or

greater

80mV

(-20dB)

1.23V

(*4dB)

Stereo

Phone

Jack

(x

2)

*

This

is

the

level

required

to

produce

an

output

of

*4dBm

(1.23V).

SECTION

THREE

1

GENERAL

APPLICATIONS

THE

ROLE

OF

AN

AUDIO

CONTROL

CONSOLE

The

mixing

console

is

the

heart

of

a

sound

system.

The

console

receives

all

microphone

and

recorded

sources,

amplifies

the

sound,

and

processes

it.

Auxiliary

devices

(compressors,

limiters,

reverbs,

tape

machines

and

amplifiers)

are

connected

to

the

sound

system

via

the

console.

Within

the

console,

some

sources

are

com-

bined,

and

others

are

assigned

to

more

than

one

output.

Level

balancing,

panning,

filtering

and

equalization

are

all

integral

functions

of

the

console.

Ultimately

the

console

feeds

tape

machines,

and/or

it

drives

power

amplifiers

that

in

turn

drive

loudspeakers.

Often

there

are

more

than

one

set

of

loudspeakers,

each

with

varying

program

feeds.

The

PM-1000

is

designed

to

satisfy

a

wide

spectrum

of

audio

control

requirements.

It

has

ample

flexibility

to

serve

as

a

recording

studio

console,

and

it

will

deliver

excellent

results

in

the

largest

of

sound

reinforcement

applications.

Ideal

for

reinforcement

in

large

clubs,

theatres,

auditoriums,

concert

halls

and

amphitheatres,

the

PM-1000

is

unsurpassed

for

its

versatility,

portability

and

economy.

PLACEMENT

OF

EQUIPMENT

The

object

of

a

sound

system

is

to

deliver

an

amplified

version

of

some

original

audio

source

to

the

audience.

Due

to

the

significant

and

varied

effects

of

room

acoustics,

the

sound

in

different

environments

can

never

be

identical.

However,

a

skilled

operator

using

sophisticated

equipment

can

critically

evaluate

the

sound

quality

and

modify

the

audio

to

obtain

a

reasonably

good

approximation

of

the

“ideal”

sound.

The

console

operator

must

have

continuous,

accurate

information.

He

must

know

what

the

audience

is

hearing.

Because

performances

tend

to

be

dynamic,

changing

constantly,

the

most

effective

means

to

guide

the

opera-

tor

is

to

place

the

console

in

the

midst

of

the

audience.

A

preferred

location

is

centered

left-to-right,

and

slightly

more

than

half

way

to

the

rear

of

the

audience.

In

this

position,

the

direct

sound

from

the

stage

and

the

colora-

tion

from

room

acoustics

jointly

affect

decisions

at

the

console.

For

convenience,

tape

machines

and

auxiliary

signal

processing

gear

are

usually

placed

immediately

adjacent

to

the

console.

The

only

electronics

that

are

remotely

located

are

the

microphones

and

the

power

amplifiers

which

drive

the

loudspeakers.

*

*Power

amplifiers

should

be

mounted

as

close

as

is

practical

to

the

loudspeaker(s)

they

drive.

By

keeping

the

amplifier-to-

loudspeaker

distance

as

short

as

possible,

and

by

using

a

suffi-

ciently

large

wire

gauge,

large

power

losses

due

to

dissipation

in

the

transmission

cable

are

avoided.

The

practice

of

locating

power

amplifiers

remotely

from

the

console

is

suitable

for

stage

monitor

(foldback),

main

reinforcement

and

intercom

loud-

speakers,

as

well

as

for

auxiliary

headphone

drive

amps.

If

the

console

cannot

be

placed

in

the

middle

of

the

audience,

an

alternate

position

is

at

the

rear

of

the

listening

area.

In

this

location,

the

console

operator

needs

an

assistant

who

will

stay

in

the

middle

of

the

audience.

From

there,

the

assistant

can

keep

the

console

operator

abreast

of

the

sound

quality,

and

can

suggest

necessary

adjustments.

In

recording

studio

applications,

the

PM-1000

should

be

placed

in

a

control

booth

that

is

acoustically

isolated

from

the

studio.

However,

visual

contact,

via

sound-trapped

windows

or

closed

circuit

TV,

should

be

maintained.

Auxiliary

equipment

should

be

placed

near

the

console,

in

the

control

booth.

Due

to

the

relatively

short

distance

between

the

control

room

and

the

studio,

all

power

amplifiers

can

be

located

in

the

control

booth

or

in

an

adjacent

room.

Echo

chambers

and

echo

devices

should

be

isolated

from

loud

monitoring

environments

to

reduce

the

likelihood

of

acoustic

feedback

or

leakage.

(Consult

Section

Four

of

this

manual

for

some

illustrated

examples

of

typical

console

set-ups.)

THE

DISTINCTION

BETWEEN

PROFESSIONAL

AND

HI-FI

TYPE

EQUIPMENT

іп

virtually

any

application,

a

variety

of

auxiliary

equipment

will

be

connected

to

the

PM-1000.

This

equipment

includes:

tape

machines,

compressors,

graphic

equalizers,

echo

devices,

reverb

units,

phasers,

and

just

about

any

audio

electronics

imaginable.

Regard-

less

of

the

function

of

auxiliary

equipment,

it

wili

un-

doubtedly

fall

into

one

of

two

general

categories,

professional

type

or

hi-fi

type

(semi-pro).

The

distinction

between

professional

and

hi-fi

equip-

ment

is

very

important

because

it

affects

the

way

this

equipment

will

be

used

with

the

PM-1000.

Brand

name,

size,

panel

colors,

durability,

and

subtieties

in

function

are

not

the

significant

differences.

What

matters

is

that

professional

equipment

and

hi-fi

equipment

usually

operate

at

different

input

and

output

levels,

and

require

different

source

and

load

impedances

to

function

correctly.

The

PM-1000

is

designed

to

function

at

its

peak

with

professional

equipment,

but

it

will

yield

excellent

results

with

hi-fi

type

equipment

so

long

as

certain

precautions

are

observed.

These

precautions

are

outlined

in

the

Installation

section

of

the

manual,

but

the

following

paragraphs

are

intended

to

explain

how

the

specific

requirements

of

professional

and

hi-fi

equipment

differ.

IMPEDANCE

Professional

equipment

is

generally

designed

to

be

driven

from

a

600-ohm

source,

and

its

output

will

drive

600-ohm

or

higher

impedance

loads.

Often,

professional

input

and

output

circuits

are

transformer

isolated

(balanced

or

floating);

such

circuits

utilize

dual-con-

ductor

shielded

cables,

with

3-pin

XL

type

audio

con-

nectors

(or

Tip/Ring/Sleeve

type).

Hi-fi

equipment

is

designed

to

be

driven

from

a

5,000-ohm

or

lower

impedance

source,

and

its

output

will

drive

10,000-ohm

or

higher

impedance

loads.

Hi-fi

input

and

output

circuits

are

usually

unbalanced;

such

circuits

utilize

single-conductor

shielded

cables

with

2-conductor

audio

connectors

(standard

phone

type

or

RCA

type).

TAREE

2

The

nature

of

balanced,

floating

and

unbalanced

circuitry

is

detailed

in

the

Specifications

section

of

this

manual.

For

the

purpose

of

this

discussion,

the

most

significant

point

is

that

an

unbalanced

circuit

is

some-

what

more

susceptible

to

hum

and

noise,

especially

if

there

is

any

irregularity

in

the

grounding

system.

It

should

be

noted

that

whether

a

circuit

is

unbalanced,

balanced

or

floating

has

no

direct

correlation

with

its

impedance.

Low

impedance

and

high

impedance

are

relative

terms.

A-150

ohm

microphone

is

considered

low

impedance,

whereas

a

2,000-ohm

mic

is

considered

high

impedance.

A

600-ohm

line

is

considered

low

impedance,

whereas

5,000-ohm,

50,000-ohm,

or

100,000-ohm

lines

are

all

considered

high

impedance.

For

audio

transmission

over

long

distances,

low

impedance

lines

provide

the

best

results.

High

impedance

lines

attenuate

the

higher

frequencies,

however

in

short

cable

runs,

under

10

feet,

there

is

virtually

no

difference

between

the

results

obtained

with

low

and

high

imped-

ance

lines.

Also,

provided

the

grounding

is

correct,

there

is

little

difference

between

unbalanced

and

balanced

or

floating

circuitry.

In

any

case,

the

specific

requirements

of

the

PM-1000’s

input

and

output

circuits

should

be

considered

in

setting

up

the

system.

OPERATING

LEVELS

Professional

line

level

is

nominally

between

OdBm

and

*4dBm;

that

is,

the

average

program

level

is

approxi-

mately

.775Vrms

to

1.23Vrms

terminated

by

a

600-ohm

line.

The

peak

level

may

extend

up

to

about

*24dBm

or

higher

(12.3Vrms).

The

high

level

input

(not

mic

input)

of

professional

audio

equipment

is

designed

to

accept

levels

in

this

power

range

without

overdrive

(clipping

distortion);

most

professional

equip-

ment

can

be

driven

to

full

output

by

nominal

+4dBm

input

levels.

Hi-fi

type

equipment

operates

at

considerably

lower

levels

than

professional

equipment,

approximately

-16dB

nominal.

This

is

equal

to

about

120mV

across

a

10,000-ohm

or

greater

(high

impedance)

line.

Peak

program

levels

may

reach

or

slightly

exceed

+4dB,

1.23V

—

across

a

high

impedance

line.

Thus,

hi-fi

equip-

ment

is

usually

not

capable

of

driving

professional

equipment

to

its

full

output,

or

at

least

not

before

the

hi-fi

output

reaches

a

high

level

of

distortion.

More-

over,

when

the

output

of

hi-fi

equipment,

which

is

meant

to

be

terminated

in

a

high

impedance,

is

con-

nected

directly

to

professional

equipment,

the

low

impedance

acts

as

a

partial

short-circuit.

This

serves

to

overload

the

hi-fi

output.

The

PM-1000's

channel

inputs

are

correctly

matched

to

professional

equipment;

they

will

not

overload

low

impedance

microphones

and

lines.

But

the

same

inputs

can

overload

some

hi-fi

equipment.

To

prevent

possible

overload,

and

to

obtain

the

best

frequency

response

with

hi-fi

equipment,

a

matching

transformer

may

be

installed.

This

converts

a

high

impedance

to

a

low

impedance.

Approximately

10dB

to

20dB

of

voltage

level

is

lost

in

the

transformer,

but

this

level

can

be

recovered

with

the

console's

Input

Level

switches.

Because

the

signal

is

being

attenuated

and

then

am-

plified

again,

some

increase

in

the

signal-to-noise

ratio

will

occur,

but

it is

usually

not

objectionable.

At

the

other

end

of

the

system,

the

PM-1000's

out-

puts

are

best

suited

to

driving

professional

equipment

(with

the

exception

of

Master

Out,

as

explained

on

pg.

3

of

this

section).

When

driving

hi-fi

equipment,

care

must

be

taken

to

avoid

overdrive

of

the

hi-fi

input.

An

excel-

lent

method

to

avoid

overdrive

is

to

connect

a

20dB

or

24dB

T-pad

across

the

hi-fi

input.

The

pad

attenuates

the

console's

nominal

+4dBm

output

to

about

-16dB,

a

good

match

for

average

hi-fi

input

sensitivity.

This

allows

both

the

console's

faders

and

the

auxiliary

equipments'

controls

to

be

operated

in

the

range

that

yields

maxi-

mum

headroom,

lowest

signal-to-noise

characteristics,

and

a

wide

range

of

physical

control.

(Pad

construc-

tion

is

illustrated

in

the

Installation

secton).

CHANNEL

INPUTS

The

PM-1000's

channel

inputs

are

transformer-

isolated.

A

very

broad

range

of

level

control,

by

means

of

attenuation

and

gain

trim,

is

provided

by

the

Input

Level

switches.

Virtually

any

microphone

or

line

source

can

be

accommodated.

Only

very

high

level

inputs,

such

as

the

speaker

output

from

power

amplifiers

or

electric

instrument

amplifiers,

will

require

external

attenuation

pads.

The

inputs

are

designed

for

low

impedance

sources,

typically

150-ohm

to

250-ohm

microphones

and

600-

ohm

lines.

Low

impedance

cables

yield

superior

trans-

mission

over

long

distances;

many

such

cables

can

be

run

2,000

feet

or

more

without

severe

high

frequency

loss

and

without

hum

pick-up,

although

microphone

manufacturer's

specifications

should

be

consulted.

When

a

high

impedance

microphone

(or

auxiliary

electronic

device)

is

used,

a

high-to-low

impedance

matching

transformer

should

be

installed

at

the

remote

(mic)

end

of

the

cable.

Condenser

microphones

that

contain

integral

preamplifiers

can

be

phantom

powered

from

the

console's

48V

supply.

This

power

is

trans-

mitted

through

standard

2-conductor

shielded

cables,

along

with

audio

signal;

the

circuitry

is

designed

so

that

non-condenser

type

microphones

should

not

be

damaged.

SUBMIXER

INPUTS

Sub

In

provides

a

convenient

means

to

expand

the

input

capability

of

the

PM-1000

by

allowing

another

console

or

mixer

to

be

‘‘chained’’

to

the

PM-1000.

When

more

input

channels

are

required,

an

auxiliary

mixer

(or

several

for

that

matter)

can

accept

the

extra

inputs,

pre-mix

them,

and

feed

them

to

the

console's

mixing

buses

through

the

Sub

In

jacks.

Sub

In

may

also

be

used

to

accept

feeds

from

remote

studios

or

other

remote

sources,

as

well

as

from

tape

recorders

and

echo/reverb

devices.

Since

the

four

Sub

In

jacks

apply

audio

directly

to

the

program

mixing

buses,

the

level

and

impedance

of

the

incoming

audio

must

be

correct.

Sub

In

has

a

nominal

input

sensitivity

of

-20dB,

so

professional

equipment

with

nominal

+4dBm

output

levels

will

have

to

be

padded

20

or

24dB.

Some

mixers,

such

as

the

Yamaha

PM-400B,

have

a

-20dB

(medium

level)

output

in

addition

to

a

+4dBm

output,

and

can

there-

fore

be

connected

directly

to

Sub

In

without

padding.

Many

hi-fi

type

mixers,

as

well

as

hi-fi

tape

machines,

can

be

connected

directly

to

the

Sub

In

jacks,

despite

the

apparent

impedance

and

level

mismatch.

The

explanation

for

this

capability

lies

in

the

fact

that

most

hi-fi

equipment,

while

rated

at

10K-ohms

output

impedance,

has

an

actual

output

source

impedance

of

about

2K-ohms.

Sub

In,

while

rated

at

a

nominal

input

impedance

of

600-ohms,

has

an

actual

termina-

tion

of

about

2.5K-ohms.

Thus,

the

hi-fi

equipment

will

be

loaded

by

Sub

In,

not

severely,

but

enough

to

drop

the

level

by

about

6dB.

Considering

that

the

average

hi-fi

nominal

output

level

is

-16dB,

a

drop

of

6dB

brings

the

input

to

-22dB...very

close

to

the

nominal

-20dB

sensitivity

of

Sub

In.

For

that

hi-fi

type

equipment

which

will

not

function

satisfactorily

when

connected

directly

to

Sub

In,

an

external

line

amplifier

must

be

installed.

Matching

transformers

will

not

cure

the

problem

because,

to

match

a

high

impedance

source

to

a

low

impedance

input,

somethinglike

10

to

14dB

of

voltage

loss

occurs,

and

this

would

bring

the

hi-fi

output

level

well

below

the

nominal

sensitivity

of

Sub

In.

PLAYBACK

INPUTS

The

four

Playback

Inputs

(PB

In)

are

designed

to

accommodate

the

play

output

of

a

4-channel

profes-

sional

tape

machine.

Alternately,

two

stereo

machines,

two

monaural

and

one

stereo

machine,

or

any

com-

bination

of

sources

that

add

up

to

no

more

than

four

channels

may

be

connected

to

PB

In.

Due

to

the

same

factors

explained

under

""Submixer

Inputs",

hi-fi

tape

machines

cannot

be

connected

directly

to

the

PB

In

jacks;

external

line

amplifiers

to

match

impedance

and

level

are

required.

PB

In

is

available

in

each

of

the

Master/

Monitor

modules

by

latching

the

Direct/PB

switch.

Tape

playback

may

be

used

to

feed

recorded

pro-

grams

through

the

console

outputs.

In

sound

reinforce-

ment

applications,

this

feature

is

handy

for

filling

inter-

missions

and

breaks

in

the

show.

For

studio

applications,

PB

In

allows

the

operator

to

listen

to

a

recording

that

has

just

been

made

without

having

to

alter

the

input

channels'

controls.

PB

In

provides

no

equalization,

filtering,

or

mixing

capability,

so

it

is

not

suitable

for

playback

of

unmixed

recordings

(except

for

reference).

Raw,

unmixed

tapes

are

better

accommodated

by

the

standard

input

chan-

nels.

As

explained

under

''Submixer

Inputs”,

the-20dBm

sensitivity

of

this

input

requires

a

20dB

or

24dB

T-pad

(or

H-pad)

to

be

connected

between

the

professional

machine's

output

and

the

PB

In

jacks.

Locating

the

pad

at

the

console

permits

the

higher

signal

level

to

flow

through

the

length

of

the

transmission

cable,

reducing

the

likelihood

of

hum

and

noise

pick-up.

TALKBACK

INPUT

The

talkback

jack

on

the

front

panel

of

the

console

is

provided

for

connection

of

a

low

impedance

micro-

phone.

This

mic,

usually

mounted

on

a

flexible

goose-

neck,

(available

from

your

Yamaha

dealer)

is

used

by

the

console

operator

to

identify

tape

recordings,

make

announcements,

or

for

intercom

with

performers,

light-

ing

personnel,

or

other

remote

areas.

When

the

console

is

not

located

in

the

middle

of

the

audience,

the

talk-

back

input

can

be

fitted

with

a

Y-adapter.

It

will

then

accept

two

mics,

one

for

the

console

operator

and

one

TAREE

3

for

his

on-floor

assistant.

Both

people

can

wear

head-

.

phones

connected

to

the

console's

talkback

output

via

another

Y-adapter.

In

this

way,

both

can

talk

and

listen

when

the

talkback

button

is

pressed.

The

talkback

input

is

preamplified

in

the

Talkback/

Oscillator

module,

which

also

has

a

level

control

and

a

push-to-talk

switch.

The

talkback

preamp

output

can

be

pushbutton-assigned

to

any

combination

of

the

four

program

mixing

buses,

and

it

is

simultaneously

available

as

a

nominal

+4dBm

direct

console

output.

The

output

will

drive

600-ohm

or

higher

impedance

headphones,

or

a

power

amplifier.

8

ohm

headphones

will

work,

but

with

some

loss

of

fidelity.

For

best

results

with

8-ohm

headphones,

and

for

additional

listening

volume,

an

external

headphone

amplifier

should

be

used.

MASTER

IN

&

MASTER

OUT

The

Master

In

and

Master

Out

jacks

are

unbalanced,

high

impedance

circuits

designed

for

-20dB

nominal

levels.

As

such,

they

are

ideal

for

most

hi-fi

type

equip-

.ment.

For

example,

Master

In

and

Master

Out

facilitate

the

use

of

graphic

equalizers

and

compressor/limiters.

Master

Out

also

may

be

used

to

make

tape

recordings,

and/or

to

drive

tape

delay

effects.

When

no

plugs

are

connected

to

the

Master

jacks,

the

program

mix

flows

between

the

jacks

via

an

internal

jumper,

then

through

the

Direct

side

of

the

Direct/Pb

switch,

and

on

through

the

Master

Fader

to

the

console's

Line

and

Monitor

outputs.

Inserting

a

plug

in

a

Master

In

jack

interrupts

the

internal

jumper.

Thus,

when

an

equalizer

or

compressor/limiter

is

fed

by

Master

Out,

processess

the

program

mix,

and

returns

the

processed

audio

to

Master

In,

all

audio

reaching

the

Master

Fader

flows

through

the

remote

device.

Master

Out

is

wired

in

a

way

that

allows

it

to

feed

a

remote

device

without

interrupting

the

flow

of

the

program

mix

to

the

console

output;

thus,

a

tape

recorder

(such

as

the

TEAC

3340

or

Pioneer

RT-1040)

can

be

fed

from

Master

Out.

Since

the

recorder

feed

comes

before

the

Master

Faders,

program

fades

will

not

affect

the

level

applied

to

the

tape.

The

signal

flow

of

the

program

to

the

Master

Faders

is

not

affected

because,

unlike

Master

In,

inserting

a

plug

in

Master

Out

does

not

break

the

internal

jumper

between

the

jacks.

If

the

recording

is

done

in

a

studio

situation,

as

opposed

to

sound

reinforcement,

then

the

play

output

of

the

recorder

can

be

connected

to

Master

In.

While

recording,

leave

the

Source/Tape

switch

on

the

recorder

in

Source

position;

this

allows

the

program

mix

to

be

monitored

in

real

time

via

the

console's

Line

or

Monitor

outputs.

When

the

recording

is

completed,

simply

switch

the

Source/Tape

switch

to

Tape

mode;

the

tape

playback

can

then

be

heard

with-

out

any

adjustment

of

console

controls.

To

obtain

a

tape

delay

effect,

feed

a

3-head

tape

recorder's

input

from

Master

Out,

and

return

the

Play

output

(the

Off

Tape

output)

to

the

PM-1000

channel

input(s);

then

the

delayed

audio

can

be

equalized

with

the

channel

equalizer

and

mixed

back

into

the

program

using

the

Channel

Fader

and

the

Output

Assign

switches.

Using

Master

Out,

rather

than

Echo

Out

to

drive

the

tape

delay

has

twin

advantages:

Vallee

4

(1)

attenuation

is

not

needed

at

the

tape

machine

input

because

Master

Out

is

at

the

proper

nominal

level

(-20dB,

not

+4dB),

and

(2)

the

Echo

Mix

buses

remain

available

for

foldback

purposes.

TIME

DELAY

EQUIPMENT

Reverb,

echo

and

delay

devices

fall

under

the

general

category

of

time

delay

units.

They

are

most

often

used

to

add

ambience

or

echo

effects

during

the

mixdown

of

tape

recordings.

Natural

reverberation

(the

sound

of

a

large

room)

consists

of

rapid,

multiple

sound

images.

The

images

begin

within

a

few

milliseconds

of

the

original

sound,

and

they

occur

at

closer

intervals

until

the

reverb

de-

cays

completely.

The

overall

decay

time

may

range

from

1/2-second

to

about

2-1/2

seconds,

although

higher

frequencies

fall

off

first.

Artificial

reverb

devices

are

con-

structed

with

springs

that

have

electro-mechanical

trans-

ducers

at

either

end.

Echo

is

a

term

often

used

to

describe

reverb.

How-

ever,

an

echo

differs

in

several

respects

from

a

reverb

effect.

Echo

consists

of

one

or

more

distinct,

delayed

sound

images.

These

occur

at

finite

intervals,

beginning

anywhere

from

approximately

40

milliseconds

to

1/2

second

or

more,

after

the

initial

sound.

Repeated

echoes

are

obtained

by

feeding

some

proportion

of

the

delayed

output

back

to

the

echo

input

(regeneration).

So-called

“live

echo”

is

obtained

from

an

echo

chamber,

a

room

that

contains

a

loudspeaker

and

a

microphone.

Artifical

echo

is

usually

obtained

in

either

of

two

ways,

with

a

tape

recorder

or

a

digital

delay

unit.

In

a

tape

recorder,

the

delay

results

from

the

time

it

takes

the

tape

to

travel

from

the

record

head

to

the

playback

head.

In

a

digital

delay

unit,

the

audio

is

converted

to

a

computer-like

digital

code,

stored

in

shift

registers,

and

then

recon-

verted

to

audio.

Other

methods

of

obtaining

time

delay

are

available,

including

the

use

of

a

length

of

tubing

with

a

microphone

in

one

end

and

a

speaker

in

the

other

end.

Professional

reverb

or

echo

units

should

be

connected

to

the

console’s

Echo

Out

(the

Line

&

Monitor

outputs

are

not

usually

suitable).

Master

Out

will

not

drive

most

professional

units,

so

it

should

be

avoided.

The

return

from

the

reverb

or

echo

device

can

be

brought

to

one

or

more

input

channels,

or

the

Sub

In

jacks;

this

allows

it

to

be

blended

with

the

dry,

or

"'straight'"

sound

апа

brought

to

the

Line

and

Monitor

outputs.

(Refer

to

"Submixer

Inputs”

on

page

three-2.)

Master

Out

and

Master

In

jacks

are

unsuitable

for

use

with

most

echo

and

reverb

units,

even

if

the

levels

and

impedances

are

compatible.

This

is

because,

to

achieve

a

“ргорег”

reverb

or

echo

effect,

the

delayed

audio

must

be

blended

with

dry

or

"'straight''

audio.

Since

all

audio

reaching

the

Line

and

Monitor

outputs

would

flow

through

the

echo

or

reverb

unit

if

it

were

patched

between

Master

Out

and

Master

In,

there

would

be

no

such

blend;

only

delayed

audio

would

reach

the

console's

Line

and

Monitor

outputs.

GRAPHIC

EQUALIZATION

"Graphic"

equalization

consists

of

a

multi-frequency

equalizer

or

filter.

Unlike

input

equalizers,

a

graphic

equalizer

can

simultaneously

operate

at

1-octave

or

1/3-

octave

frequencies

throughout

the

audible

range.

Some

units

provide

only

attenuation,

most

provide

attenuation

and

boost.

Graphic

equalization

is

used

to

eliminate

resonant

peaks

and

dips

in

the

loudspeakers

and

the

listening

en-

vironment,

thereby

reducing

the

tendency

to

feedback.

Ín

many

cases,

the

addition

of

graphic

equalization

will

enable

average

sound

levels

to

be

elevated

by

over

10dB

before

feedback

commences.

Another

use

of

graphic

equalization

is

to

contour

the

frequency

response

of

the

console's

output

to

obtain

the

most

pleasing

sound

quality.

Usually,

each

speaker

feed

(Echo

Out

and

Monitor

Out)

requires

its

own

channel

of

professional

type

graphic

equalization

installed

between

the

console

out-

put

and

the

power

amplifier.

Stage

monitor

feeds,

for

example,

may

require

considerably

more

high

frequency

roll-off

than

audience

feeds

because

the

stage

tends

to

bounce

highs

back

at

the

microphones.

Hi-fi

type

graphic

equalizers

(such

as

the

S.A.E.

Mark

2700,

the

Soundcraftsmen

RP-2212,

etc.)

can

be

installed

between

the

Master

Out

and

Master

In

jacks.

However,

the

speakers

will

have

to

be

fed

from

the

Line

Out

rather

than

the

Mon

Out

because

the

monitor

mix

would

contain

a

very

confused

blend

of

different

equalization

that

would

be

very

difficult

to

set

up

properly.

COMPRESSION

AND

LIMITING

Compressors

and

limiters

shrink

the

dynamic

range

of

program

material.

In

practice,

a

compressor

is

used

to

raise

the

average

volume

of

low

level

program

material,

without

overdriving

the

amplifiers

during

high

volume

passages.

Compression

increases

average

listening

levels

(apparent

loudness)

without

actually

requiring

more

powerful

amplifiers.

Limiting

does

not

change

the

average

program

level;

it

does

prevent

peaks

from

ex-

ceeding

a

pre-set

limit,

or at

least

it

becomes

very

diffi-

cult

for

peaks

to

rise

very

far

beyond

that

limit.

Limit-

ing

permits

higher

power

settings

to

be

used

without

risk

of

overdriving

the

loudspeakers

or

clipping

the

power

amplifiers,

tape

machine

inputs,

etc.

Limiting

and

compression

utilize

similar

circuitry,

so

many

manu-

facturers

include

both

functions

in

the

same

package.

Compression

and

limiting

may

be

used

for

tape

recordings

and

for

sound

reinforcement.

Professional

type

equipment

can

be

connected

between

the

console's

Monitor

,

Echo

or

Line

Out

jacks

and

the

power

amplifier

inputs

or

the

tape

machine

record

inputs.

Hi-fi

type

units

(such

as

the

dbx

161)

can

be

connected

between

the

Master

In

and

Master

Out

jacks.

The

record

in

and

out

of

some

compression/expansion

type

hi-fi

noise

reduction

units

can

be

used,

in

which

case

experimentation

with

a

high-frequency

roll-off

filter

(or

equalizer

attenuation)

may

yield

a

better

sound

quality;

this

is

due

to

high-frequency

pre-emphasis

which

is

included

in

most

noise

reduction

systems.

Alternately,

the

pre-emphasis

may

be

defeated

(consult

with

the

manufacturer

of

the

device

to

determine

whether

this

is

feasible).

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SECTION

FOUR

1

INSTALLATION

PLACEMENT

OF

EQUIPMENT

The

PM-1000-16

is

a

fully

portable,

self-contained

unit.

It

may

be

placed

on

a

table

top

or

shelf

measuring

at

least

35”

(90cm)

wide

Бу

35”

(90cm)

deep,

and

at

any

convenient

working

height.

If

desired,

a

shelf

or

table

may

be

cut

out

to

form

a

permanent,

recessed

mount-

ing,

as

illustrated.

This

type

of

mounting

has

a

lower

profile,

and

is

quite

attractive

since

the

rosewood

cabinet

remains

visible.

(In

order

to

mount

the

console

in

the

recess,

the

carrying

handles

must

first

be

re-

moved.)

Whether

recessed

or

table-top

mounted,

the

console

should

be

on

a

level

surface,

with

sufficient

rear-panel

clearance

to

accommodate

the

input

and

output

cables.

Consult

the

"General

Applications

Section”

and

the

diagrams

further

on

in

this

section

for

suggested

location

of

the

console

within

the

room.

Recessed

mounting

details

for

16-channel

consoles

A

-

33

7/8"

(86cm)

B

-

33

5/8"

(85.5cm)

C

-

3"

(7.6cm)

POWER

MAINS

U.S.A.

and

Canadian

models

are

designed

to

operate

with

110-120V

AC,

50-60Hz

power

mains.

The

console

must

be

AC

grounded

for

safety

and

for

proper

shielding;

a

3-wire

power

cord

is

provided

for

this

purpose.

If

a

3-wire

outlet

is

not

available,

or

if

there

is

any

chance

the

outlet

may

not

be

grounded,

a

separate

jumper

wire

must

be

connected

from

the

console

chassis

to

an

earth

ground.

Cold

water

pipes

generally

provide

good

grounds,

but

hot

water

pipes,

pipes

on

the

user

side

of

a

water

meter,

or

PVC

pipes

should

be

avoided.

When

in

doubt,

drive

a

length

of

copper

pipe

into

moist

earth

to

obtain

a

ground

point,

burying

at

least

b'

(1.5m)

of

pipe.

The

console

should

be

connected

to

the

power

mains

ONLY

IF

THE

VOLTAGE

AND

LINE

FREQUENCY

ARE

CORRECT.

The

Power

Switch

on

the

meter

panel

should

be

shut

off

before

connecting

the

console

to

the

mains.

As

a

precaution,

the

console

should

be

discon-

nected

from

the

mains

while

audio

cables

are

being

installed.

CAUTION.

Severe

over-voltage

or

under-voltage

in

the

power

mains

can

damage

the

console's

circuitry.

A

safe

practice

is

to

first

check

the

AC

line

before

con-

necting

the

power

cord.

Using

an

RCA

Power

Line

Monitor,

or

any

suitable

AC

voltmeter,

the

power

line

must

measure

more

than

100Vrms

and

less

than

135Vrms.

If

power

line

voltages

do

not

fall

within

the

100V

to

135V

range,

a

variac

or

some

other

device

must

be

used

to

correct

the

voltage.

Failure

to

observe

this

pre-

caution

may

damage

the

console,

and

will

void

the

warranty.

A

relatively

minor

power

supply

modification

allows

the

use

of

220-240V

AC

mains.

Described

in

Section

Seven

of

this

manual,the

modification

is

to

be

performed

only

by

qualified

service

technicians.

THEORY

OF

GROUNDING

Careful

grounding

procedures

are

essential

for

proper

operation,

not

only

of

the

PM-1000,

but

of

the

entire

audio

system.

Many

grounding

techniques

exist,

and

certainly

there

are

several

ways

to

achieve

a

satisfac-

torily

grounded

audio

system.

Several

books

have

been

written

on

the

subject.

For

further

information

(to

com-

plement

what

we

are

about

to

present)

consult

the

fol-

lowing

sources:

THE

AUDIO

CYCLOPEDIA

by

Howard

M.

Tremaine

(Pub.

Howard

W.

Sams);

the

ALTEC

ACOUSTA-VOICING

MANUAL

Ed.

by

John

M.

Eargle

&

Mark

E.

Engebretson

(Pub.

Altec

Corp.);

GROUNDING

&

SHIELDING

TECHNIQUES

IN

INSTRUMENTATION

by

Ralph

Morrison

(Pub.

Wiley).

CAUTION.

In

any

audio

system

installation,

govern-

mental

and

insurance

underwriters’

electrical

codes

must

be

observed.

These

codes

are

based

on

safety,

and

may

vary

in

different

localities;

in

all

cases,

local

codes

take

precedence

over

any

suggestions

contained

in

this

manual.

As

set

forth

in

the

PM-1000

Warranty,

Yamaha

Inter-

national

Corporation

shall

not

be

liable

for

incidental

or

consequential

damages,

including

injury

to

persons

or

property,

resulting

from

improper,

unsafe

or

illegal

installation

of

the

PM-1000

or

of

any

neither

shall

the

Corporation

be

liable

for

any

such

dam-

ages

arising

from

defects

or

damage

resulting

from

accident,

neglect,

misuse,

modification,

mistreatment,

tampering

or

any

act

of

nature.

The

following

grounding

scheme

is

presented

in

the

belief

that

it

is

one

of

the

more

simple,

yet

effective

methods

available,

but

by

no

means

is

it

the

only

effective

method.

Ground

loops,

multiple

paths

to

the

AC

main

ground

(earth

ground)

often

tend

to

induce

hum

and

allow

noise

to

develop.

In

severe

instances,

equipment

may

begin

to

oscillate

due

to

ground

loops;

oscillation

can

cause

distortion

and

damage

amplifiers

and

loudspeakers.

One

way

to

avoid

ground

loops

is

to

make

certain

that

there

is

just

one

path

to

AC

ground

(earth

ground)

for

the

entire

audio

system.

The

PM-1000

chassis

provides

a

convenient

point

from

which

all

other

equipment

in

the

system

can

derive

its

ground.

The

auxiliary

equipment

chassis

is

first

isolated

from

the

AC

main

ground,

if

necessary;

then

the

auxiliary

chassis

are

all

grounded

to

the

PM-

1000

chassis

via

the

shields

of

the

interconnecting

audio

cables.

To

insure

the

success

of

this

scheme,

the

PM-

1000

chassis

must

be

well

grounded

either

through

the

ground

lead

in

its

AC

cord,

or

through

an

earth

ground

attached

to

the

console

chassis.

FOUR2

Much

of

the

auxiliary

equipment

sold

today

is

equipped

with

2-wire

AC

power

cords,

which

implies

that

the

equipment

is

isolated

from

the

AC

main

ground.

If

the

equipment

has

a

3-wire

АС

cord,

its

chassis

is

probably

grounded

to

the

power

mains

through

the

rounded,

center

prong

of

the

power

plug;

a

3-prong

to

2-prong

adapter

may

be

used

to

interrupt

that

ground.

Iv

ceni

24

WARNING:

When

a

chassis

is

not

grounded

directly

to

the

AC

mains,

it

must

be

grounded

to

the

PM-1000

chassis

by

the

shields

of

interconnecting

audio

cables;

the

PM-1000

then

links

the

remote

equipment

to

the

AC

main

(earth)

ground.

Should

the

shield

of

a

cable

break,

or

in

the

event

a

cable

is

disconnected,

it

is

pos-

sible

for

dangerous

potential

differences

(lethal

AC

voltages)

to

develop

between

the

remote

chassis

and

any

other

grounded

device.

Therefore,

it

is

extremely

im-

portant,

especially

with

guitar

amplifiers,

that

contin-

uity

between

the

remote

chassis

and

the

PM-1000

chassis

be

maintained

at

all

times

(even

when

power

switches

are

OFF).

As

a

precaution,

every

chassis

and

microphone

case

should

be

tested

with

an

ohmmeter

to

assure

it

is

grounded

to

the

power

main

(or

earth)

ground.

In

the

previously

described

grounding

scheme,

it

should

be

sufficient

to

first

establish

the

РМ-1000%

continuity

to

ground,

and

to

then

make

certain

there

is

virtually

no

resistance

between

the

remote

chassis

and

the

PM-1000

chassis.

AUDIO

CONNECTORS

AND

CABLE

TYPES

The

PM-1000

is

fitted

with

only

four

types

of

audio

connectors:

3-pin

XLR

male,

3-pin

XLR

female,

2-

conductor

standard

phone

jacks

and

3-conductor

(stereo)

phone

jacks.

The

circuits

which

are

associated

with

these

connectors,

and

the

proper

mating

connec-

tors,

are

listed

on

the

following

table.

In

most

installations,

2-conductor

shielded

cable

is

recommended

for

all

XLR

connections.

Belden

No.

8412

or

its

equivalent

is

an

excellent

cable

due

to

its

heavy

construction,

and

this

type

of

cable

should

be

used

for

all

portable

applications.

A

lighter

duty

cable,

Belden

No.

8451

or

its

equivalent,

is

suitable

for

permanent

installation

only.

"Snake"

cables

should

be

handled

very

carefully;

cables

containing

multiple

shielded

pairs

are

not

recommended

because

the

leads

tend

to

be

fragile,

and

a

broken

conductor

cannot

be

replaced.

In

order

to

minimize

crosstalk,

low

level

(micro-

phone)cables

should

be

physically

separated

from

high

level

(line)

cables

whenever

possible.

If

low and

high

level

cables

must

be

run

parallel

and

in

close

proximity

to

one

another,

they

should

be

bundled

separately.

INTERFACE

WITH

AUXILIARY

EQUIPMENT

Auxiliary

equipment,

such

as

power

amplifiers,

com-

pressors,

equalizers,

and

tape

machines,

may

be

fitted

with

the

same

type

of

XLR

or

phone

connectors

used

in

the

PM-1000.

However,

several

other

types

of

con-

nectors

are

commonly

used,

including:

Tip/Ring/

Sleeve

phone

jacks,

RCA-type

jacks,

and

terminal

strips.

The

cable

preparation

for

interface

of

the

con-

sole

to

all

standard

connector

types

is

graphically

illustrated

further

on

in

this

section.

Typical

audio

systems

for

reinforcement

and

recording

are

discussed

in

the

"General

Applications"

Section

of

this

manual.

The

layout

of

these

systems,

and

the

block

diagrams

of

the

actual

equipment

con-

nections,

are

illustrated

in

the

following

diagrams.

Many

variations

are

likely

to

be

used,

and

these

illustrations

are

intended

only

as

guides.

AUDIO

CONNECTORS

USED

TO

MATE

WITH

PM-1000.

Circuit

Channel

In

PB

In

Sub

In

Talkback

In

Line

A

Out

Line

B

Out

Monitor

Out

Echo

Out

TB

Out

Master

Out

Master

In

Headphone

Out

Cannon

Mfgr.

No.

XLR-3-12C

XLR-3-11C

Switchcraft

Mfgr.

No.

A-3-M

A-3-F

280

290

Connector

Description

3-pin

male

professional

audio

connector.

3-pin

male

professional

audio

connector.

3-pin

male

professional

audio

connector.

3-pin

male

professional

audio

connector.

3-pin

female

professional

audio

connector.

3-pin

female

professional

audio

connector.

3-pin

female

professional

audio

connector.

3-pin

female

professional

audio

connector.

3-pin

female

professional

audio

connector.

2-conductor

standard

1/4”

phone

plug;

shieided

case

and

integral

cable

clamp.

2-conductor

standard

1/4”

phone

plug;

shielded

case

and

integral

cable

clamp.

3-conductor

(TRS)

1/4"

phone

plug;

shielded

case

and

integral

cable

clamp.

Floor

Plan

of

Theatre,

illustrating

sound

system

arrangement

with

PM-1000

in

the

midst

of

the

audience.

(Typical

of

many

portable

installations.)

POWER

AMPLIFIERS

-

c

NESS

MICROPHONE

CABLE

НАВ

i

е

А.

\

-—

~

AUDIENCE

LOUDSPEAKERS

TAPE

MACHINE

^M

f

AUXILIARY

_

—

\

н

EQUIPMENT

M

STAGE

RECOMMENDED

SEPARATION

\

OF

LOW

AND

HIGH

)

MONITOR

i

PM-1000

..

/

LOUDSPEAKERS

LEVEL

CABLE

HARNESSES

CONSOLE

i

|

i

PM-400B

_

4

SUBMIXER

DIRECT

BOXES

MACHINE

AUDIENCE

өз

S

LOUDSPEAKERS

tr

irn

E

a

10005

PEAKER

Бату

/

Н

Е

HARN

ESS

TALKBACK

/

о

UTPUT

TO

LIGHTING

BOOTH

AMPLIFIERS

Note:

Console

is

sometimes

located

closer

to

the

stage.

PM-1000

Connections

for

Above

Installation.

Professional

4-Track

Hi-fi

Type

Tape

Machine

Compressors

To

Record

In

From

Playback

Out

24dB

T-pads

(or

H-pads)

From

PM-400B

Submixer

To

Power

Amps

and

House

Loudspeakers

Professional

Type

Graphic

Equalizers

|

4

В

R

mu

|

i

:

To

Record

Input

ji

i

|

M

Professional

4-Track

4

|

i

Tape

Machine

]

i

|

L

S

To

Intercom

Amplifier

|

т

То

Foldback

Amps

&

Loudspeakers

im

|

a

oe

a

E

Graphic

Equalizers

The

use

of

two

tape

machines

assures

continuity

of

recording

when

a

reel

ends,

or

in

the

event

of

a

problem.

Note

that

the

playback

input

has

attenuation

pads

to

reduce

the

4-track

output

to

the

proper

level.

All

power

amplifiers

are

remotely

situated,

near

the

loudspeakers

they

drive.

РООІН4

Floor

Plan

of

Theatre,

illustrating

sound

system

arrangement

with

РМ-1000

in

the

balcony.

(Typical

of

many

fixed

installations.)

POWER

;

——

MICROPHONE

CABLE

HARNESS

AMPLIFIER

:

STAGE

MONITOR

AUDIO

LOUDSPEAKER

BOOTH

IN

BALCONY

ELECTRIC

g

li

PIANO

..

2

MIGROPHONE

RECOMMENDED

SEPARATION

JUNCTION

BOX

OF

LOW

AND

HIGH

ae

LEVEL

CABLE

HARNESSES

AUXILIARY

|

EQUIPMENT

MACHINE

AUDIENCE

SOUNDMAN'S

LOUDSPEAKERS

ASSISTANT

-

MIC

&

HEADPHONES

DIRECT

BASS

ae

O

|

TURNTABLE

PHONO

PREAMP

GUITAR

AMP

STAGE

момре

LOUDSPEA|

TALKBACK

AN

POWER

Lo

D

AMPLIFIERS

КЕЙ

UDSPEAKER

DRIVE

HARNESS

PM-1000

Connections

for

Above

Installation.

To

Record

Input

Professional

4-Track

Tape

Machine

From

Playback

Output

24dB

T-pads

(or

H-pads)

To

Power

Amps

&

House

Loudspeakers

Spare

Input

To

Operator

(Headphones)

To

Assistant

-

To

Power

БЕ

eE

Amps

&

Stage

Monitor

Loudspeakers

2-Channel

Professional

From

Microphone

Graphic

Equalizer

Bm

From

Turntable

Junction

Box

on

Stage

Phono

Preamp

The

turntable

may

be

used

to

provide

background

music

during

breaks,

or

for

special

effects

and

performance

back-up

music.

Note

the

attenuation

pads

at

the

playback

input.

All

power

amplifiers

are

remotely

situated,

near

the

loudspeakers

they

drive.

MASTER

jacks,

LINE

B

OUT

jacks,

and

SUB

IN

jacks

are

not

needed

in

this

set-up.

FOURS

Floor

Plan

of

recording

studio

illustrating

typical

PM-1000

installation.

PERFORMER’S

HEADPHONE

TO

ECHO

CHAMBER

FROM

ECHO

CHAMBER

MIC

JUNCTION

BOX

LEFT

REAR

LEFT

FRONT

MONITOR

SPEAKER

MONITOR

SPEAKER

RAPHIC

EQ'S

POWER

AMPS

HI-FI

ТҮРЕ

RIGHT

MONITOR

STERO

TAPE

SPEAKER

DIRECT

BOX

CONTROL

ROOM

PROFESSIONAL

р

N

MONO

TAPE

PMAQUB-

F]

1]

моамм

CLIENT'S

SOFA

PROFESSIONAL

STERO

TAPE

PM-1000

n

/

PROFESSIONAL

Я

JUNCTION

4-TRACK

TAPE

Pia

BOXES

P

\

w^

CABLE

INTERFACE

MICROPHONES

(PATCH

PANEL)

OTHER

AUXILIARY

EQUIPMENT

`

RIGHT

FRONT

MONITOR

SPEAKER

LEFT

MONITOR

SPEAKER

RIGHT

REAR

MONITOR

SPEAKER

NOTE:

While

shown

in

close

proximity

in

this

diagram,

input

and

output

cable

harnesses

should

actually

be

physically

separated

and

run

at

right

angles

to

the

greatest

practical

extent.

PM-1000

Connections

for

Above

Installation.

Professional

4-Track

Tape

Machine

Шик

То

Power

Рго

Туре

Amps

oa.

аад.

—

Н

T-pads

on.

Speakers

(or

H-pads)

Pro

Type

—

M"

ЕО

Return

From

Echo

ToEchoAmp&To

Echo

Chamber

To

Monaural

To

Amps

&

Studio

Mon.

ШЕ

То

Рго

Туре

Stereo

Tape

24dB

T-

Е

Hi-Fi

Туре

Stereo

(or

ey

Yamaha

PM-400B

Mixer

—

Used

to

obtain

Machine

Tape

Machine

stereo

mix

for

monitoring

and

tape

playback

Тһе

PM-400B

serves

as

an

auxiliary

monitor

mixing

facility

in

this

installation.

Not

shown

are

the

headphone

outputs.

The

PM-400B

headphone

output

can

be

used

for

studio

phones.

FOURG

CABLE

AND

CONNECTOR

WIRING

CONFIGURATIONS

The

preparation

of

complete

cables,

with

connectors

properly

installed,

is

the

key

to

reliable

and

trouble-free

operation

of

any

sound

system.

For

this

reason,

the

fol-

lowing

illustrations

are

included.

Experienced

audio

technicians

may

wish

to

review

these

illustrations,

even

if

they

already

know

how

to

wire

connectors.

A

few

moments

of

extra

care

here

can

save

hours

of

trouble-

shooting

later

on.

As

a

rule,

the

amount

of

insulation

removed

and

the

length

of

exposed

cable

should

be

minimized.

This

reduces

the

likelihood

of

short

circuits

and

improves

the

ability

of

the

clamp

to

grip

the

cable

firmly.

Enough

heat

should

be

used

to

obtain

a

free

flow

of

solder,

but

allow

leads

to

cool

quickly

after

solder

flows

to

avoid

melting

insulation.

After

each

connector

has

been

com-

pletely

wired,

the

cable

should

be

tested

with

an

ohm-

meter

or

a

cable

tester.

Continuity

between

the

various

conductors

and

their

associated

connector

pins

must

be

established,

and

there

should

be

infinite

resistance

(an

open

circuit)

between

all

connector

pins.

In

most

cases,

especially

in

portable

installations,

XLR

connectors

should

not

conduct

at

all

between

the

shell

and

1.

This

avoids

grounding

problems

from

inadvertent

touch-

ing

of

the

shell

to

other

devices.

Cables

to

be

connected

to

terminal

strips

should

be

prepared

by

stripping

the

ends

and

installing

crimp-on

or

preferably,

solder

type

lugs.

If

there

is

any

chance

the

cable

will

be

strained,

use

a

cable

that

is

constructed

with

internal

strain

relief

cord,

such

as

Belden

No.

8412.

Crimp

a

lug

onto

the

cord,

and

secure

the

lug

to

an

un-

used

terminal.

(The

cord

should

be

drawn

slightly

tighter

than

the

wire

leads

in

order

to

take

the

strain

first.)

Cable

clamp

Shell

connection

Center

conductor

connection

WIRING

AN

RCA-TYPE

PLUG*

Parts

identification

and

cable

preparation.

Strip

approximately

1/2”

of

outer

insulation.

Unwrap

or

unbraid

the

shield

and

form

a

lead.

Strip

approxi-

mately

5/16"

of

insulation

from

the

center

conductor.

Tin

both

leads.

Solder

the

shield

to

the

outer

surface

of

the

shell

connection,

allowing

enough

free

shield

to

wrap

the

cable

around

to

the

center

of

the

connector.

Cool

the

connection

immediately

with

pliers.

Insert

the

center

conductor

in

the

hollow

pin,

and

fill

that

end

with

solder.

Cool

the

connection

immedi-

ately

with

pliers.

Clean

any

solder

splashes

and

inspect

for

burned

insulation.

Pinch

the

clamp

around

the

outer

insulation

with

pliers,

firmly,

but

not

so

tight

as

to

cut

the

insulation.

Slide

the

shell

forward

and

screw

it

tightly

to

the

threaded

plug.

*Switchcraft

No.

3502

connector

illustrated.

Many

large

diameter

cables

are

more

easily

wired

to

"simple"

RCA

type

plugs

without

a

shell

(Switchcraft

No.

3501M,

or

equivalent).

The

braid

can

then

be

soldered

directly

to

the

shell

of

the

plug.

Yamaha PM-1000 User manual

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