Yamaha Pm5d User manual

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A New High Point in Digital Live Sound

Since its introduction in 2004 the Yamaha PM5D Digital Mixing

Console has become a common sight at concerts and live

venues throughout the world. In fact, more than 2,000 units

have been shipped since that time.The reason? Simply that it’s

one of the most versatile, practical, reliable, and great-sounding

digital mixers in it’s class. But technology must evolve to meet

the changing needs of the field it serves, and the PM5D is no

exception.Over the years that the PM5D has been in service

the discerning pros who use it came up with quite a few

valuable suggestions as to how it might be improved

and expanded.The PM5D V2 is the result, loaded with new

features ranging from subtle refinements to seriously notable

innovations. And owners of the original PM5D aren’t excluded

from the good news: a free firmware update that is

downloadable from Yamaha’s Pro Audio website will bring you

right up to speed.

But there’s been another important development that makes

the PM5D V2 a major system player: the DSP5D Digital Mixing

System. Although the PM5D was always expandable via

Yamaha’s MY-series expansion cards and integration with

digital systems such as DME64N and AD8HR, the DSP5D takes

system scalability to a totally new level. In essence the DSP5D is

a complete PM5D without the control surface, doubling your

processing power and I/O capacity while allowing direct,

seamless control from the PM5D V2 control surface. In fact you

can add up to two DSP5D units for a total of 144 mono and 24

stereo input channels, and even use the DSP5D units on-stage,

connected to the console via a single Ethernet cable.

The PM5D is a great live sound console, as attested to by its

popularity. But now with new features grounded in actual day-

to-day use, and scalability that makes it an excellent choice for

much larger applications, the PM5D V2 is poised to become an

industry standard.

2 3

Enhanced Features and Scalability

The PM5D V2* includes numerous refinements and

innovations that significantly improve both its operability and

functionality. Almost all of these have been implemented on

the basis of feedback from experienced professionals in the

field, and provide improved functionality and performance

that makes a difference in real-world applications. PM5D V2

also offers full compatibility with Yamaha’s new DSP5D Digital

Mixing System units can not only double or triple the I/O

capacity of the PM5D V2 console with seamless control

integration, but also function as high-performance remote

mixing engines and stage boxes connected to the console via

a single Cat-5 Ethernet cable.

* Owners of the original PM5D or PM5D-RH can download the version-2 firmware

update from the Yamaha Pro Audio website at: http://www.yamahaproaudio.com/

Choose the Front End that Suits Your Needs

Customers have a choice of two front-end configurations. The PM5D V2 includes

48 XLR/balanced TRS analog mono inputs with manual mic preamps, plus

additional 4 stereo line level inputs. The PM5D-RH V2 includes 48 XLR analog

mono inputs with recallable mic preamps with 4 stereo inputs that will accept mic

level signals. The choice will depend on your needs and budget, and whether you

need to store and recall the analog gain settings in the same way as other

parameters. Whichever model you choose, you are assured of the best sound

quality available. Both superb mic preamps convey the most delicate nuances of

the input signal right down to the smallest details. In this brochure “PM5D V2”

refers to features common to both configurations, unless otherwise noted.

Easily Manageable Size and Weight for Touring or

Installations

On the surface the PM5D V2 may look like a streamlined 24-channel console, but

it is actually much, much more: a total of 130 input connections, simultaneous

mixing of up to 64 inputs to stereo or LCR stereo, and 24 mix buses with

extraordinary versatility, all with 500-scenes of total recall. Plus you have the

equivalent of several racks full of first-rate processing gear onboard (56 Gates, 92

Comps, 97 Delays, 12 GEQs, 8 units of SPX2000 class multi effects, and more).

Add advanced digital patching capability, sophisticated monitoring, surround

panning from 3-1 to 6.1, and a wealth of features that contribute to unprecedented

operational ease and efficiency. The fact that all of this is housed in a 950mm x

1551mm foot print console that weighs less than 98kg, powered by a 3U external

power supply that weighs only 10kg, is simply staggering. If you’ve been touring

with traditional equipment you’ll appreciate the dramatically reduced setup time

and effort required by this groundbreaking console. If you’re equipping an

installation you’ll love the reduced installation and maintenance costs, as well as

all the space you’ll save.

32-bit Internal Processing

The PM5D V2 will handle 24-bit/96kHz audio without compromise. You won’t

sacrifice channels or any other processing capabilities whether the PM5D is run at

44.1, 48, 88.2 or 96-kHz. Internal processing is all 32-bit (using 58-bit

accumulators) to ensure that absolutely no loss of audio quality occurs at any

point in the signal path.

High-capacity, Versatile Mix Performance

The PM5D V2 can accommodate a total of 130 input connections (48 channel

inputs, four stereo inputs, five 2 TR IN’s plus four mini-YGDAI slots), and can

handle up to 64 inputs simultaneously. The 64 input mixing channels are

configured by default as 48 mono input channels, 4 stereo inputs, and 4 stereo

effect returns. By utilizing the internal patch bay and expansion slots you can

instantly scene-switch between totally separate stage setups. In terms of bus-

routing capability you have 24 mix buses that can function as submasters or

auxiliary sends, in addition to the stereo A and B (or LCR) and CUE buses. There’s

also an 8- output mix matrix that is invaluable for setting up submixes for a variety

of applications. Any of the input channels, mix buses, and matrix buses can be

assigned to the console’s 8 DCA faders for extraordinarily flexible group control.

DSP5D Digital Mixing System Compatibility for

Doubled or Tripled Capacity

If you need more I/O capacity and processing power than the PM5D V2 provides

alone, you can add Yamaha DSP5D Digital Mixing System units that provide

essentially all the functionality of a PM5D-RH V2 in a rack-mountable unit that can

be seamlessly controlled from a PM5D (RH) V2 console. Up to two DSP5D units

can be used with a single PM5D V2 console. A PM5D V2 plus one DSP5D gives you

a total of 96 mono and 16 stereo input channels, while adding two DSP5D units to

a PM5D V2 provides 144 mono and 24 stereo input channels to comfortably

handle large-scale applications. And of course your processing power is doubled

or tripled, respectively.

In terms of I/O capacity and processing capability a single DSP5D offers:

■48 mono and 4 stereo inputs.

■24 Mix buses (cascaded to the PM5D V2 mix buses).

■8 Matrix buses.

■24 Omni Outputs.

■Full channel functionality: gain, EQ and filters, dynamics, sends.

■8 effect processors and 12 graphic equalizers.

■2 mini-YGDAI expansion card slots.

■Full compatibility with DSP5D Editor computer software.

■The ability to function as a remote DSP processor and I/O expansion

unit via the DCU5D Digital Cabling Unit. The ability to function as a

remote DSP processor and I/O expansion unit via the DCU5D Digital

Cabling Unit.

Like the PM5D itself, all analog inputs and outputs are directly accessible via

standard XLR type connectors. After a few simple connections the DSP5D becomes

an integral part of the PM5D console, and can be controlled from the PM5D

control surface in the same way as the internal functions. So although you have

significantly upgraded the system, you can simply plug in your sources and output

devices and use it right away without having to work through another learning

curve. You can directly connect the DSP5D to a PM5D via standard cascade cables

if they are to be used in relatively close proximity. But if you want to use the

DSP5D as a remote I/O with powerful DSP function the DCU5D Digital Cabling Unit

lets you locate the DSP5D as far as 120 meters* from the PM5D console,

connected only by one Cat-5 Ethernet cable. This dramatically reduces cabling

requirements while maintaining solid audio and control reliability over extended

distances.

*Refer to http://www.ethersound.com/technology/compatibility.php

DSP5D and DCU5D utilize EtherSound technologies. But because bandwidth is fixed exclusively for DSP5D and

DCU5D,they cannot be controlled by ES monitor.

PM5D V2

PM5D-RH V2

DSP5D

DCU5D

4 5

All the Effects and Processing You’ll Need Onboard

The PM5D V2 offers every processing facility you’ll ever need onboard. Every input

channel has 4 band EQ plus a high pass filter, a separate gate and compressor, and

delay of up to 1000 milliseconds. The stereo and mix outs have 8-band EQ,

compressor, and delay. The matrix outs have 4 band EQ, compressor and delay.

The cue and monitor outs also include delay. But the PM5D V2 doesn’t stop there!

It features twelve 31-band GEQs and eight independent SPX2000- class multi-effect

processors that can be patched into any of the console’s input, stereo, mix, or

matrix channels, offering a comprehensive range of reverb, delay, modulation, and

combination effects. The PM5D V2 also comes with Yamaha’s incomparable ADD-

ON EFFECTS built in! You have immediate access to acclaimed REV-X Reverb

programs as well as the Compressor276, Compressor260 and EQ601 programs

from the AE-011 Channel Strip package and the Open Deck programs from the AE-

021 Master Strip package.

Advanced, Intuitive User Interface

The PM5D V2 features interface technology developed and refined through an

impressive lineup of digital consoles, including the PM1D. Here are a few

highlights:

Selected Channel: Press the SEL key on any input or master channel and that

channel strip is assigned to the console’s SELECTED CHANNEL controls for real-time

adjustment of a dazzling array of parameters. When you edit a parameter via a

SELECTED CHANNEL control block, the corresponding display is automatically called to

the console’s large LCD display for even further editing precision and versatility.

Mix Send Select: With the PM5D V2 “vertical” and “horizontal” signal control

corresponding to channel and buss flow on a conventional analog console is intuitive

and efficient. For example; Press the MIX SELECT key corresponding to the desired mix

bus, and the send levels to the selected bus can be adjusted directly via the channel

strip encoders. If the MIX MASTER MIX SEND key is engaged, the send level from the

current SELECTED CHANNEL input to all 24 mix busses can be adjusted via the MIX

master encoders.

Encoder Mode: The input channel encoders can be assigned to mix send level,

panning, input gain, or alternate layer input level, enabling the operator to adjust all

input channel levels without changing layers.

Flip: When this key is engaged the functions of the input strip faders and encoders are

reversed ... this is great when you want to use the faders for fine control of a parameter

normally assigned to the encoders, which is ideal when using PM5D V2 for monitor

applications. The interface advantages are extensive, and extend to details that can

make a significant difference to work efficiency and comfort. Also there are connectors

for mouse and keyboard: great assistance when you have to type in numerous

characters while setting up patches and scenes.

Scene Recall

On the PM5D V2, all parameters are recallable in up to 500 scenes, so you can

instantly key to the perfect mix. This type of repeatability is particularly important

in high-turnover applications where you might need to accommodate a number of

totally different acts every day. It can also make life much easier in one-act touring

applications, leaving you more time to optimize the mix for individual venues.

There is also a flexible recall safe function that enables on-the-spot cancellation

and alteration of the pre-programmed settings.

HA Library

Another important feature on the PM5D V2 is an HA library that, on the PM5D-RH

V2, allows the gain and other parameters of the internal microphone preamplifier

to be recalled in one operation. The HA library is also an advantage on both the

PM5D V2 and PM5D-RH V2 when remotely-controllable preamplifiers such as the

Yamaha AD8HR are connected via the console’s expansion slots.

Surround Ready

The PM5D V2 is equipped with 3-1, 5.1 and 6.1 surround modes. You can easily

set up surround channels on the mix buses, and panning can be controlled via

the track pad or by using dedicated control devices connected via the MIDI or

GPI port.

Expansion Slots for Added Connectivity

Four rear-panel mini-YGDAI expansion slots allow you to use a range of MY series

expansion cards to enhance the PM5D V2 in a number of ways. You can, for

example, use the added I/O capability to connect to and remotely control high-

performance Yamaha AD8HR 8-channel A/D with microphone preamplifiers. You

could also significantly expand your audio processing capabilities by cascading to

a DME64N Digital Mixing Engine. You can have 64 matrix outs, and control

additional GEQ, Master fader, Cross Over, Delay and Matrix Mixer components

created on DME64N from PM5D. Or you could cascade-connect to another PM5D

V2 bi-directionally (up to 4 units uni-directionally) to create a huge system, or

other Yamaha digital mixers such as the DM2000 or DM1000 for submix

applications.

Virtual Soundcheck

Here’s a perfect example of a version-2 feature that has been implement in

response to feedback from the field. With a multi-track recording system such as

Steinberg’s Nuendo DAW, the PM5D V2 can not only be used to make top-quality

live recordings, but a live recording made during a rehearsal or performance can

be temporarily patched to the console’s inputs and used for setup and adjustment

when the musicians or performers aren’t available. The results of this “Virtual

Soundcheck” can then be directly saved to a scene without the need for complex

re-patching or fear of accidental changes to setting. And unlike similar features

found in other consoles, the PM5D V2 lets you assign individual channels to the

Virtual Soundcheck function as required, so you can keep sound effect or BGM

channels alive while doing a sound check.

Expanded Dynamics Capability

Next to level control and equalization, dynamics processing is one of the most

critical requirements for achieving optimum mix quality. That’s why the original

PM5D console included sophisticated compressors, expanders, and companders

on every channel. The PM5D V2 goes a step further by adding flexible de-essers

that can significantly enhance the quality of vocal and speech channels by precisely

isolating and compressing vocal sibilance.

Extra EQ

The PM5D’s eight SPX2000-class internal effect processors offer a vast amount of

DSP power. But since not every application requires full use of eight powerful

effect processors, some of that power may go unused. In version 2 that potential

can be put to good use in providing additional graphic and parametric EQ units.

The PM5D V2 offers a plentiful supply of independent equalizers for input and

output processing, but every engineer runs up against situations in which no

amount of EQ seems to be enough. That’s where the expanded EQ capability

provided by this new feature will really shine.

Solid Security

Although the original PM5D offered plenty of security-oriented features, version 2

provides even greater security that will keep the system operating properly in the

widest possible range of applications. A new Load Lock function, for example,

makes it impossible to inadvertently load data that might change critical settings

from external memory or the PM5D Editor. There’s also an Output Isolation

feature that allows full input channel control while preventing scene recall

operations from changing output compression, delay, EQ, fader, patching, and

other output parameters that needs to remain constant even through band or

program material changes. You can specify any or all of the output parameters you

want protected. And you can now assign “read-only” status to specific scenes to

prevent them from being overwritten by store, load, or edit operations.

Channel Move Function

This seemingly simple function can be a huge advantage when revising a channel

layout plan. Mono and stereo input channel setups can be “moved” to any other

channel in one simple operation so you don’t have to spend time re-entering all of

the related channel settings, including patch and HA settings.

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6 7

PM5D

PM5D-RH

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Elegant, Efficient, and Eminently Practical

Everything you need for hands-on mix control is right where you need it. The PM5D V2 physical control surface offers direct access

to all of the major functions you’re likely to need for just about any real-world application. And if you’re using one or two DSP5D

Digital Mixing System units for I/O and DSP expansion, you get seamless, comprehensive control directly from the PM5D V2 panel.

Mic Preamp Controls

While the PM5D V2 manual microphone preamplifiers have

physical phantom power, pad, gain, and insert switching

controls, the PM5D-RH’s recallable mic preamplifiers allow

access to the same parameters via the console’s encoders

and software. Both models offer peak and signal indication

LEDs for easy visual input level monitoring. If you’re

connected to a DSP5D Digitial Mixing System you have

complete control of its mic preamps directly from the

PM5D V2 console as well.

Input Patching

Although physical input jacks 1 through 48 on the rear panel of the PM5D

are connected to the corresponding internal channels by default, digital

patching provides total assignment freedom. You won’t have to run around to

physically re-patch cables whenever you need to reconfigure the system. The

same goes for the inputs on a connected DSP5D Digital Mixing System. On-

screen patch displays allow the system’s inputs and outputs to be patched to

appropriate I/O points and you can also assign and display channel names

for easy identification. Patch setups you might want to use again can be

stored in the patch library for instant recall at any time.

Channel Strip Controls

1Layer Select Keys

The CH 1-24 and CH 25-48 layer select keys

determine whether the console’s 24 physical mono

channel strips control channels 1 through 24 or 25

through 48. Additional layers can be accessed when

the PM5D is connected to one or two DSP5D units.

2ENCODER ON Key

Turns encoder assigned functions on or off. For

example, it can be used to switch the send to the

mix bus on or off.

3PRE Key

Selects pre or post mix send.

4Rotary Encoder

The function of the channel strip rotary

encoders is determined by the ENCODER MODE

keys (Refer to the Encoder Mode & Fader Flip

Keys at the opposite page). They can function as

mix send level controls, channel pan controls,

head amplifier gain or attenuation controls, or

as alternate-layer level controls.

5TO STEREO, GATE, and COMP

Indicators

The TO STEREO indicator lights when the

channel signal is feeding the stereo mix bus. The

GATE indicator lights when the channel gate is

closed, lights dimly during gate attack or decay,

and goes out when the gate is open. The COMP

indicator lights when the channel compressor is

applying gain reduction, lights dimly during

compressor attack or decay, and goes out when

no gain reduction is being applied.

6SEL Key

Assigns the corresponding channel to the

console’s SELECTED CHANNEL control section

and to the built-in LCD display. The SEL keys can

also be used to assign channels as stereo pairs.

7Channel Name Display

This 4-character display shows the assigned

name for the corresponding channel. The name

dims when the channel is muted.

8CH ON Key

Turns the corresponding input channel on

or off.

9Meter

A 6-point LED meter displays the channel

input level.

)DCA Indicators

The console’s input channels can be

assigned to any of 8 DCA. The DCA LEDs

indicate the DCA faders to which the channel

is assigned.

!MUTE Indicators

Input channels can be assigned to eight

mute groups for versatile mute control. The

MUTE LEDs indicate the mute groups to

which the corresponding channel is

assigned.

@RCL and MUTE SAFE Indicators

The RCL SAFE LED lights when the channel is set to the

recall safe mode so that it will not be affected by scene

recall operations. The MUTE SAFE mode prevents the

channel from being affected by mute group operations.

#Channel Fader

These very smooth and quiet 100mm motorized faders

control and display the channel input level, or the send level

to the selected mix bus when the FADER FLIP mode is on.

$CUE Key

Sends the channel signal to the cue bus for monitoring

according to the currently selected cue mode: LAST CUE,

MIX CUE, or SOLO and various function settings.

Stereo Input Channels

The stereo input channels are essentially the

same as the mono input channels, except that

they have stereo level meters, and ST IN 1-4 and

FX RTN 1-4 keys that assign the strips for stereo

input channel or stereo effect return operation.

ENCODER MODE & FADER

FLIP Keys

The ENCODER MODE keys determine the

function of the rotary encoders at the top of the

console’s channel strips: send level to each of

24 mix buses, channel pan, input gain of the

recallable head amps in the PM5D-RH V2 (or

connected remote recallable head amplifiers)

or attenuation after A/D conversion, and input

fader level of alternate (unselected) layer. The

FADER FLIP key swaps the functions assigned to

encoders and faders. For example, if you

engage the FADER FLIP key when MIX SEND is

selected, the channel-strip faders adjust the mix

send level while the encoders adjust the

channel input level.

1EQUALIZER & HPF

A flexible 4-band equalizer section with high and low bands switchable for shelving or

peaking response, variable frequency and Q on all bands, and an independent variable-

frequency HPF. Since 8-band EQ is provided for output channels, UPPER and LOWER keys

are provided to assign control to the upper or lower four bands.

2STEREO

The STEREO section allows the currently selected channel signal (input, stereo input, effect

return, mix) to be routed to the stereo bus with pan control.

3COMPRESSOR

This is a full-featured compressor/expander/compander/de-esser module with independent

threshold, range, attack, release, knee and ratio parameters. Like the noise gate section, the

compressor section includes a six-segment gain reduction meter for convenient visual

monitoring.

4DELAY

Turns the channel delay on or off, and sets the delay time

from 0 to 1,000 milliseconds for the selected input

channel.

5GAIN/ATTENUATION/Ø

When the GAIN/ATT key is on the encoder adjusts the gain

of a recallable microphone preamplifier patched to the

input of the selected channel. When the GAIN/ATT key

indicator is off the encoder adjusts attenuation for the

selected channel. The Ø key inverts the phase of the

selected channel.

6NOISE GATE

Extremely versatile noise gate provides effective noise

suppression, ducking, and other gate functions. Extensive

control is provided with independent threshold, range,

attack, hold, and decay parameters, as well as key-ins and

key-in filters.

7GROUP

This section controls channel to DCA and MUTE group

assignments. The DCA keys assign the currently selected

input channel to one or more of the DCA faders, while the

MUTE keys assign the currently selected input channel to

one or more of the eight available mute groups. The

GROUP section also includes RECALL SAFE and MUTE

SAFE assign keys that engage or disengage recall safe

and/or mute safe status for the currently selected input

channel.

8CHANNEL SELECT

This section can be used to select the channel to which the

SELECTED CHANNEL controls will apply. COPY and PASTE

function are also included, making it easy to copy all

parameters from one channel to any other channel.

INPUT PATCH

SELECTED CHANNEL Controls

8 9

CUE & SOLO

The PM5D V2 provides three cue and solo modes: Mix Cue, Last Cue, and Solo. The PM5D V2

cue system additionally provides four types of cue monitoring: INPUT CUE, DCA CUE,

OUTPUT CUE, and EFFECT or GATE KEY IN CUE with various function settings. There is also a

CUE INTERRUPT function that lets you select whether the MONITOR OUT signal will be

affected by cue/solo operation or not. This last function can be extremely useful in broadcast

applications.

MONITOR

The PM5D V2 MONITOR section offers a range of monitor source selection keys: 2 Track In

Analog 1 and 2, 2 Track In Digital 1 through 3 (all with sample rate converters), STEREO A

and B for the console’s stereo busses (these buttons can be pressed simultaneously to allow

LCR monitoring), and a DEFINE key that can be assigned to select any source. Also USER

DEFINED KEYS can be assigned for this purpose, so you can monitor-select as many sources

as you like at the touch of a button. Individual level controls are provided for the MONITOR

OUT and PHONES outputs.

TALKBACK

In addition to the talkback microphone signal, the PM5D V2 TALKBACK setup display allows

the signals from any one of the AD inputs to be mixed with the microphone signal, and the

TALKBACK destination can be assigned freely to any of the output ports. The TALKBACK ON

button can be set for latched or unlatched operation.

Level Meters

A complete set of level meters is provided on the console panel. Layer select keys let you

monitor any input channel layer plus the stereo inputs or effect returns. The MIX/MATRIX

key allows visual monitoring of the mix buses and matrix outputs. Individual stereo meters

are also provided for the STEREO A, STEREO B, and CUE buses. A PEAK HOLD key engages or

disengages the meter peak hold function. In addition, a comprehensive range of meter

facilities are provided via the LCD display showing all inputs, outputs, input gain reduction

and output gain reduction. Flat meters won’t obstruct the engineer’s view of the stage.

Flexible Mixing For Any Application Comprehensive Monitoring Facilities

In addition to dual stereo mix buses that can be used together for LCR send, the PM5D V2 offers 24 independent mix buses that

you can use for submix, auxiliary, effect, or just about any other type of send your application requires ... all with master mix control

as well as individual mix send level control from all available inputs. All mix buses have 8-band EQ, compression, and delay that you

can control via the SELECTED CHANNEL controls to optimize your submix signals. And if that isn’t enough, there’s also an 8-output

matrix mix for the mix and stereo buses (also equipped with EQ, compression and delay!) on the PM5D V2, plus an additional 8

matrix buses on each DSP5D unit you use. Once you’ve created all the submixes you need, you can group them, as well as the input

channels, by assigning them to the very versatile DCA faders.

MATRIX/ST ROUTING

MIX to MATRIX VIEW

DCA GROUP ASSIGN (In)

DCA GROUP ASSIGN (Out)

MIX Send/Master Controls

Independent MIX control blocks are provided for the mix buses. When the MIX SEND key is

engaged, the MIX encoders adjust the send level from the selected channel to the

corresponding mix buses. When the MIX MASTER key is engaged the encoders function as

master level controls for the corresponding mix buses. You can still use the channel-strip

encoders to adjust mix send level by using the MIX SEND SELECT keys to specify the

destination mix bus. The MIX blocks also include ON keys to turn the corresponding send on

or off, TO STEREO and TO MTRX LEDs to indicate assignment to the stereo and matrix

busses, PAIR LEDs that indicate paired mix sends, and CUE and SEL keys that assign the

corresponding MIX signal to the SELECTED CHANNEL controls when the MIX MASTER mode

is engaged. When an odd-even numbered pair of mix bus sends is assigned as a stereo pair,

the odd-numbered encoder functions as a pan/balance control while the even-numbered

encoder sets the send level for the pair. The MIX controls can be assigned to DCA groups 7

and 8, so a pair of DCA assignment indicators is also provided.

MATRIX Controls

The MATRIX controls comprise an 8-channel

submix matrix from the mix and stereo buses.

Each matrix module features a level encoder,

ON key, CUE key, and SEL key which assigns

that channel to the SELECTED CHANNEL

controls. Like the MIX bus controls, the

MATRIX controls can be assigned to DCA

groups 7 and 8, so a pair of DCA assignment

indicators is provided. PAIR LEDs indicate

paired matrix controls. When an odd-even

numbered pair of matrix controls is assigned

as a stereo pair, the odd-numbered encoder

functions as a pan/balance control while the

even-numbered encoder sets the send level

for the pair.

DCA Faders

Any input or output channels can be assigned

to any of the console’s eight DCA faders for

convenient grouping. Each DCA strip also

includes a four-character name display as

well as MUTE and CUE keys for convenient

muting and cue monitoring of the

corresponding DCA signal. The faders can

also be used to control individual bands of

the internal graphic equalizers. In fact, you

can assign a variety of functions to the DCA

faders that can be instantly recalled via the FADER MODE keys. You could, for example,

assign input channel level control to the DCA faders so you have simultaneous control of 32

channels instead of the normal 24. Or you could assign mix master levels, matrix levels ...

whatever you need to work in the most productive, efficient manner for the job at hand.

STEREO Faders

The master stereo faders control the output

from the console’s STEREO A and STEREO B

buses. In addition to the faders the STEREO

strips include channel ON keys, TO MTRX and

COMP LEDs, CUE keys, and SEL keys which

assign the corresponding STEREO bus signal

to the SELECTED CHANNEL controls. The

STEREO OUTPUT block also features RECALL

SAFE and MUTE SAFE LEDs similar to those on the input and output channels, and DCA 7 and

8 LEDs that indicate assignment to the corresponding DCA faders. The STEREO B strip

additionally features a MONO key that sums the STEREO B channels to a mono signal that

can serve as the center channel for LCR configurations.

Output Patching

As with input patching, all outputs can be conveniently patched to just about anywhere you

need them via the LCD display screen patch matrix without having to physically re-patch

cables. The mix outputs, stereo outputs, matrix outputs, mono and stereo channel insert and

direct outs, oscillator output, talkback output, and monitor outputs can be patched to the

console’s mix outputs, cascade outputs, option slot outputs, and any of the three 2TR digital

outputs. Send to internal effects can be patched anywhere from the MIX outputs and INSERT

OUT points. Inputs and outputs on connected DSP5D units can be patched directly from the

PM5D V2 in the same way and just as easily as the console’s own inputs and outputs.

Staying in touch with your sound is vital to create the perfect mix.The PM5D’s in-depth cue, monitor and metering facilities let you

hear what’s happening at any point in the mix with maximum ease and efficiency.

MONITOR

TALKBACK

10 11

Left of LCD

Right of LCD

PM5D V2 Connectors DSP5D Connectors

PM5D-RH V2 Connectors

PW800W Power Supply

The PM5D V2 is reliably powered by an external power supply unit. The PW800W is extremely

compact and lightweight (3U, 10kg). Thanks to its high efficiency, the low speed cooling fans

are extremely quiet. PW800W accepts 100 - 240 volts so it can be universally used. The

PW800W can also be used as a secondary “redundant” power supply for the DSP5D.

PSL120 Power Supply Link Cable

Two PW800W units can be serially connected using the optional PSL120 cable for failsafe

operation.

DCU5D Digital Cabling Unit

You can directly connect the DSP5D to a PM5D V2 via standard cascade cables if they are to be used in relatively close proximity. But if you want to use the DSP5D as a powerful on-stage DSP and

I/O expansion unit the DCU5D Digital Cabling Unit lets you locate the DSP5D as far as 120 meters* from the PM5D V2 console, connected only by one Cat-5 Ethernet cable. The DCU5D converts the

PM5D V2 cascade signals (68-pin D-sub connector) to and from Cat-5 audio, dramatically reducing cabling requirements while maintaining solid audio and control reliability over extended

distances. For maximum power reliability the DCU5D also features a 4-pin XLR connector that will accept standard external power supplies for failsafe redundant operation.

*Refer to http://www.ethersound.com/technology/compatibility.php

DSP5D and DCU5D utilize EtherSound technologies. But because bandwidth is fixed exclusively for DSP5D and DCU5D, they cannot be controlled by ES monitor.

ST IN Connectors

Master Phantom On/Off Switch Input Connectors

ST IN Connectors

MIX OUT Connectors OUTPUT Connectors

MONITOR/CUE/STEREO A, B/MATRIX PO ER INPUT

Connector Expansion Slots for mini-YGDAI cards

Input/Insert Connectors 2TR IN ANALOG Connectors 2TR OUT DIGITAL Connectors

2TR IN DIGITAL Connectors

ORD CLOCK Connectors

MIDI Connectors

RS422 Connector

CASCADE IN Connector

CASCADE OUT Connector

HA REMOTE Connector

GPI Connector

TIME CODE Connector

TO HOST (USB) Connector

Extensive Analog and Digital Connectivity

The PM5D V2, PM5D-RH V2, and the DSP5D all provide comprehensive analog and digital connectivity that makes it easy to set up

just about any type of system without requiring external interfacing. Flawlessly bridging the gap between the analog and digital

worlds are high-performance analog-to-digital and digital-to-analog converters that provide totally transparent conversion.

12 13

INPUT ST IN OMNI OUT

CASCADE IN/OUT

(D-sub 68pin)

ORD CLOCK

IN/OUT

Expansion Slots for mini-YGDAI cards

Network Connector CASCADE IN/OUT (CAT 5)

DC PO ER INPUT

Front Rear

･ST IN Connectors

The PM5D-RH V2 and DSP5D ST IN connectors accept both line and microphone input,

while the PM5D V2 ST IN connectors accept line-level input only.

* MIX OUT Connectors of PM5D V2 can be used as OMNI OUT connectors.

Enhanced Efficiency & Operability

These are the features that make a difference in workflow and efficiency. On the PM5D V2 they attest to the fact that Yamaha has

really listened to feedback from the field, and implemented refinements that make sense in real-world applications.

Lamp Dimmer and LED, LCD Brightness Control

The lamp dimmer controls the brightness of the LA1L gooseneck

lamps. Parameter visibility can be an issue, depending on your work

environment. The PM5D V2 lets you control the brightness of the LCD

screen and also all of the LEDs on the control surface in 8 steps. At

outdoor events, you might want to turn the brightness of the PM5D V2

indicators up high. Lower brightness is more appropriate in dark venues, where a bright

display may distract nearby audience members. PM5D V2 even has a “Panel Assistance

Mode” in which “off” LEDs are dimly lit to assist the operator to see the surrounding keys

and signs in a very dark operational environment (where the use of gooseneck lamps are

prohibited).

USER DIFINED KEY

SCENE

RECALL SAFE

TRACKING RECALL

Large LCD Display

Although PM5D V2 can be operated without relying on the LCD display, the 10.2-

inch 600 x 800 dot color LCD display provides easy-to-read graphics and multiple

parameter views. It is particularly useful when you want to dig in and do in-depth

programming and editing to take full advantage of this remarkable console’s

capabilities, as well as when changing patch, utility, and other settings.

DISPLAY ACCESS Keys

The DISPLAY ACCESS keys determine which type of data will be shown on the LCD

panel. A total of 24 categories are provided in logical groups, letting you access a

particular type of data directly. If you want to set up an input patch, for example,

simply press the PATCH key in INPUT group to call up the appropriate display.

USER DEFINED KEYS

These 25 keys can be assigned to control just about any functions you choose, for example, to

individually mute outputs, bookmark LCD display menu, for external machine control or effect tap

tempo. USER DEFINED KEY number 25 is located separately from the other 24 keys, next to the FADER

MODE buttons, and is conveniently assigned to scene increment operation ... but you can reassign it to

perform any function you require.

DIRECT RECALL/

MUTE MASTER

These eight keys can be used either to directly recall

assigned scene numbers, or to mute the

corresponding mute groups. The DIRECT RECALL

and MUTE MASTER LEDs indicate which function the

keys are currently assigned to.

SCENE MEMORY

Scene recall has become one of the most in-

demand features of digital consoles because of

the enormous boost in productivity it can

provide. The PM5D V2 offers storage and

recall capacity for up to 500 scenes. Scenes

can be recalled via the SCENE MEMORY

section keys, the DIRECT RECALL keys, the

USER DEFINED KEYS, the scene management

display, or external control such as MIDI or

GPI. Scenes can be protected so that they can’t

be inadvertently overwritten. Recall safe

function can be applied to parameters you

don’t want to be affected by scene recall

operations, or alternatively you can make

Selective Recall to recall the wanted

parameters only. There’s a PREVIEW mode

that lets you visually confirm the contents of

recalled scenes before actually applying the

changes to the console, and an UNDO key lets

you quickly undo an unwanted scene recall.

Event List

The Event List allows existing scenes to be

freely assigned as events in a list. This not only allows scenes to be lined up for recall in any

required order, but it also allows the scenes to be recalled at specified times in a time code

signal generated by external equipment or by the PM5D V2 itself.

Data Entry Controls

This section includes cursor keys,

INC/DEC keys, data wheel, and a

trackpad for versatile, easy data

entry when editing via the LCD

display. If you prefer to work with

a keyboard and mouse,

appropriate connectors are

conveniently provided under the

front armrest pad.

PCMCIA Card Slot

Set up your mixes, dump your data to a Compact Flash memory card using PCMCIA adapters

and you can easily transfer it to another PM5D V2 console, or keep it safe for reloading into

the same console at a different time or venue. Engineers can travel worldwide with just one

memory card in their pocket! The PCMCIA card slot will also be used for future firmware

updates.

14 15

Libraries

Setting up the entire PM5D V2 system from scratch can be a formidable task, so Yamaha has

provided an extensive selection of presets in a range of libraries that can simply be selected

and used as they are or modified to suit specific requirements. Of course, your own setups

can be added to the libraries for instant recall whenever they are needed. Here’s a list of the

available libraries:

Graphic Equalizers

The PM5D V2 provides twelve dedicated 31-band graphic equalizers for output processing,

and more are available via the internal effects when necessary. The graphic equalizers are

ideal for use whether you need a subtle overall response adjustment or a more dramatic

boost or cut in a limited frequency range. Each equalizer also features a spectrum analyzer

display. For easy setup the console’s DCA faders can be assigned to directly adjust the GEQ

bands in 8-band groups via the FADER MODE keys.

Internal Effect Processors

PM5D V2 is equipped with eight independent SPX2000-class multi- effect processors that can

be patched into any of the console’s input, stereo, mix, or matrix channels, offering a

comprehensive range of reverb, delay, modulation, and combination effects.

Name Number Total

Scene Memory Preset 1 + User 500 501

Input Patch Library Preset 1 + User 99 100

Output Patch Library Preset 1 + User 99 100

Input Channel Library Preset 1 + User 199 200

Output Channel Library Preset 1 + User 199 200

Input EQ Library Preset 40 + User 159 199

Output EQ Library Preset 3 + User 196 199

GATE Library Preset 4 + User 195 199

COMP Library Preset 36 + User 163 199

Effect Library Preset 54 + User 145 199

GEQ Library Preset 1 + User 199 200

HA Library Preset 1 + User 199 200

GEQ PARAMETER GEQ ASSIGN

SECURITY

HA LIBRARY

GPI

WORD CLOCK

M/S DECODE

Acclaimed Add-on Effects Built In

Previously available as options for Yamaha digital mixing consoles, a number of our top-

performance Add-on Effects programs are now provided in the PM5D V2. You can edit, store

and recall the Add-on Effects on the console in the same way as the standard internal effects.

In addition, a special GUI is available in the PM5D editor to manage these effects.

The extraordinary quality of many of the Add-on Effects is due to the innovative VCM

technology they employ. VCM (Virtual Circuitry Modeling) technology actually models the

characteristics of analog circuitry - right down to the last resistor and capacitor. VCM

technology goes well beyond simply analyzing and modeling electronic components and

emulating the sound of old equipment, and is capable of capturing subtleties that simple

digital simulations cannot even approach.

■CHANNEL STRIP Compressor Programs (Effect No.49~53)

This group of effects includes 5 models that employ VCM (Virtual Circuitry Modeling)

technology to recreate the sound and characteristics of several classic compression and EQ

units from the 70’s. Compressor 276 (mono) and Compressor 276S (stereo) recreate the

fast response, frequency characteristics, and tube-amp saturation of the most in-demand

analog compressors for studio use. Compressor 260 (mono) and Compressor 260S (stereo)

feature faithful modeling of the solid-state VCA and RMS detection circuitry of the late 70’s

for live sound reinforcement applications. And Equalizer 601 delivers the unique

characteristics of 70’s analog EQ circuitry, featuring graphical editing capability on both the

console and PC displays.

■MASTER STRIP Open Deck Programs (Effect No.54)

Virtual Circuitry Modeling technology is employed to recreate both the analog circuitry and

tape characteristics that shaped the sound of open-reel tape machines from the “golden age”

of recording. Models of four machine types are included: Swiss ’70, Swiss ’78, Swiss ’85, and

American ’70. You can even combine different record and playback decks for a wider range

of variation. You also have a choice of “old” and “new” tape types, tape speed, bias, and EQ

settings that can vary the “focus” of the sound, distortion, and saturation characteristics.

■REV-X Reverb Programs (Effect No.46~48)

The REV-X programs feature the richest reverberation and smoothest decay available, based

on the REV-X algorithms first introduced in Yamaha’s SPX2000 Professional Multi Effect

Processor. The Hall and Room programs have a very open sound, while Plate delivers a

brighter tonality that is ideal for vocals.

* Note:The names of programs or menus incorporated in the Add-on Effects are for

descriptive purposes only. Reference to product names, trademarks, artists and songs is

made for the sole purpose of identifying products and sounds studied for modeling and

describing the sound nuances Yamaha attempted to create through use of its

proprietary technology. Such reference does not constitute representations that they

physically possess equal qualities, and does not imply any cooperation or endorsement

by such manufacturers or artists. The products, trademarks are the property of their

respective owners.

HA REMOTE Control Output

This connector provides control signals for remote control

of an external microphone preamplifier such as the Yamaha

AD8HR 8-channel A/D microphone preamplifier. The

AD8HR’s mic preamp gain can be remotely controlled in

steps of 1dB directly from the PM5D V2. There’s also a high

pass filter and phantom power supply integrated into each

channel that can be turned on and off by remote control.

The filter’s cut-off frequency is also remotely adjustable. This

Head Amp Remote Control function makes it possible for the

AD8HR to be used as a stage box. In addition to the many

advantages that this offers, digital connection of the AD8HR

and PM5D V2 using an AES/EBU cable reduces analog wiring

requirements to the bare minimum.

Operation Lock

The Operation Lock function prevents accidental or

inadvertent operation by requiring a password for access.

Internal Oscillator

The internal oscillator provides 100Hz, 1kHz, and 10kHz

sine-wave signals as well as pink and burst noise. Sine waves

of different frequencies can be sent to the left and right

channels for effective setup checks.

GPI Interface

A 4-input 12-output General Purpose Interface is provided

on PM5D V2 to provide control interoperability with a wide

range of sound and studio equipment - fader start and talk

back on/off are just two examples. The USER ASSIGNABLE

KEYS can be assigned to trigger appropriate output signals,

and continuous input capability allows the PM5D V2 to be

controlled by external equipment.

MS Decoding

Built-in MS decoding eliminates the need for external matrix

transformers for MS microphones when working with MS-

encoded source material.

Mix Minus

Mix Minus makes it possible to instantly remove a specified

channel from the mix - a common example from the

broadcast field would be removing an announcer from a

mix. Vertical Pairing In addition to standard odd-even

channel pairing, the PM5D V2 allows “vertical pairing” in

which adjacent channels on different layers can be operated

in tandem - channels 1 and 25, for example.

Word Clock

The PM5D V2 can be used as either word clock master or

slave to allow effective integration with any type of digital

audio system up to 96-kHz.

MIDI Remote

The PM5D V2 features MIDI IN, OUT and THRU connectors

that can be connected to external MIDI equipment to allow

transmission and reception of MIDI control signals.

Compressor 276 (mono)

Compressor 276S EQ601

Compressor 260 (mono) /

Compressor 260S

Swiss ’70 with NewSwiss ’85 with NewAmerican ’70 with New

REV-X HALL REV-X PLATE

REV-X ROOM

16 17

■Effect List

REVERB HALL REVERB ROOM REVERB STAGE REVERB PLATE

EARLY REF. GATE REVERB REVERSE GATE MONO DELAY

STEREO DELAY MOD. DELAY DELAY LCR ECHO

CHORUS FLANGE SYMPHONIC PHASER

AUTO PAN TREMOLO HQ PITCH DUAL PITCH

ROTARY RING. MOD. MOD.FILTER DISTORTION

AMP SIMULATE DYNA.FILTER DYNA.FLANGE DYNA.PHASER

REV+CHORUS REV->CHORUS REV+FLANGE REV->FLANGE

REV+SYMPHO. REV->SYMPHO. REV->PAN DELAY+ER

DELAY->ER DELAY+REV DELAY->REV DIST->DELAY

MULTIFILTER FREEZE STEREO REVERB M.BAND DYNA

M.BAND COMP REV-X HALL REV-X ROOM REV-X PLATE

COMP276 COMP276S COMP260 COMP260S

EQUALIZER601 OPENDECK DE-ESSOR

Complete Software Control

As with other Yamaha digital consoles, editor application software is provided to PM5D V2 users.The PM5D Editor is designed for

the offline programming and on-line control, with comprehensive analog-style visual representation of the PM5D V2 controls.

A separate DSP5D Editor application is provided for control of the DSP5D.The PM5D Editor will run on Windows XP and Mac OSX

(10.2 or later) compatible computers connected to the PM5D V2 via USB.The DSP5D Editor runs on a Windows computer

connected to the DSP5D via an Ethernet network cable.The PM5D Editor works within the Yamaha Studio Manager Host

environment for smooth integration with other Yamaha digital systems. It would not be possible to introduce all of the PM5D V2

software parameters and displays in the space available here, but here are a few examples.

Selected Channel Window

This very useful overview window

shows all parameters available via

the console’s SELECTED CHANNEL

section in easy-to-grasp graphic

form, as well the controls in the

selected channel strip itself, and the

MIX SEND controls.

The PM5D Editor will also include the following windows for total console management :

■ Effect Window

■ DCA/Mute Group Window

■ Effect Window

■ GEQ Window

■ Surround Editor Window

■ Meter Window

■ Patch Editor

■ Library Window

■ Scene Window

■ Setup Window

Layer Window

Almost a complete virtual mixer, this window shows all PM5D V2 input channel parameters

“in-line” as they might appear on an analog console. This is a comprehensive overview

designed for fast, efficient editing of the most essential mix elements.

Master Windows (Mix, Matrix, DCA, Stereo)

These windows provide an informative overview of fader levels as well as other parameters

including EQ, compressor gain reduction, delay, and more.

18 19

Options

The PM5D V2’s real I/O versatility comes in the form of four mini-YGDAI expansion slots.The expansion slots are 24 bit/96 kHz

compatible, so you can select mini YGDAI plug-in cards to create the input/output configuration that’s perfect for your needs.

PW800W

Power Supply

mini-YGDAI Cards

LA1L

Gooseneck Lamp

* Available as replacement options. ( 3 pcs. included in PM5D V2, PM5D-RH V2)

PSL120

Power Supply Link Cable

MY8-AE

8 channel AES/EBU format I/O

MY8-AT

8 channel ADAT format I/O

MY8-TD

8 channel TDIF format I/O

MY4-AD

4 channel Analog Input Card

MY8-AD24

8 channel Analog Input Card

MY8-AD96

8 channel Anolog Input Card

MY4-DA

4 channel Anolog Output Card (20bit)

MY8-DA96

8 channel Anolog Output Card

MY8-ADDA96

8 channel Analog I/O

MY8-AE96

8 channel AES/EBU format I/O

MY8-AE96S

8 channel AES/EBU format I/O

(w/Sample rate converter)

MY16-AT

16 channel ADAT format I/O

MY16-TD

16 channel TDIF format I/O

MY8-AEB

8 channel AES/EBU format I/O

MY16-CII

16 channel CobraNet™I/O

MY16-AE

16 channel AES/EBU format I/O

MY16-C

16 channel CobraNet™I/O

AVIOM 16/o-Y1

16 channel AVIOM A-Net Output Card

AuviTran AVY16-ES

16 channel EtherSound I/O

Audio-Service MYMADI64

MADI I/O

■ Third Party Cards■ DA Cards

■ Digital I/O Cards

■ AD/DA Card ■ AD Cards

Application Examples

2. F.O.H for Concerts

If the DSP5D will be located near the PM5D V2 at the front-of-house position, you

can connect it to the console via a pair of D-sub 68-pin cascade cables. In the

setup shown here, with a single DSP5D cascaded to a PM5D V2, you have 96

microphone inputs and 48 omni outputs (24 Mix buses, 16 Matrix buses). Other

peripheral gear such as a playback device for BGM and/or effects can be mounted

in the same rack as the DSP5D.

4. Dual DSP5D for Theater and Performance

If you need more on-stage I/O capability for complex staging, for

example, add a second DCU5D and DSP5D as shown in the system below.

The second DCU5D is connected to the first DSP5D via a pair of D-sub

68-pin cascade cables, and an Ethernet cable connects to the second

DSP5D. In this example each DSP5D drives a power amplifier and FOH

speaker - a fast and easy setup for theaters that don’t have a built-in

sound system that will handle the job. Monitors could also be easily

accommodated if required. Wireless receivers can be connected directly

to the DSP5D units for reliable performer mic pickup. This setup gives

you 96 microphone/line inputs and 48 omni outputs (24 Mix buses and

24 Matrix buese) on stage.

20 21

1. Remote Microphone Preamplifer Control

Using MY-series expansion cards and the PM5D’s HA REMOTE output, it is possible to receive input from and remotely control up to eight high-performance Yamaha AD8HR

8-channel A/D converter with remote preamp.

The AD8HR’s mic preamp gain can be remotely controlled in steps of 1dB directly from the PM5D. There’s also a high pass filter and phantom power supply integrated into

each channel that can be turned on and off by remote control. The filter’s cut-off frequency is also remotely adjustable.

This Head Amp Remote Control function makes it possible for the AD8HR to be used as a stage box. In addition to the many advantages that this offers, digital connection of

the AD8HR and PM5D using an AES/EBU cable reduces analog wiring requirements to the bare minimum.

3. Concerts Using the DSP5D as a Remote I/O

If the console needs to be located a significant distance from the stage you can add

a DCU5D Digital Cabling Unit so that the DSP5D can be located on stage and

connected via a “digital snake” consisting of a single CAT5 Ethernet cable. The

DCU5D is connected to the console via a pair of D-sub 68-pin cascade cables. In

addition to the 48 inputs and 24 outputs provided by the PM5D V2 itself, you now

have another 48 microphone/line inputs and 24 omni outputs on stage. (Totally 24

Mix Buses, 16 Matrix buses, 48 OMNI outs). Of course, all DSP5D functions can

be controlled directly from the PM5D V2 console. You could also add one or two

MY-card output interfaces such as the MY8-DA96 to the DSP5D, and use them to

drive an on-stage power amp rack for monitors and FOH speakers.

Stage

PM5D (RH)

OUTCASCADE IN

ADE IN

CASC

ASC

ADE IN

CASCADE IN OUT CASCADE IN

DSP5D

DCU5D

PM5D (RH)

OUTCASCADE IN OUT CASCADE IN

DSP5DDSP5D

Slot 1

Slot 2

Slot 3

Slot 4

AD8HR

HA Remote

AD8HR

HA Remote

PM5D

Stage

PM5D (RH)

OUTCASC

ASC

ADE IN

CASC

ASC

ADE IN

CASCADE

CASCADE IN OUT CASCADE IN

DSP5D DSP5DLS9-16

DCU5D-1

T5n T5n

WIRELESS SYSTEM

DCU5D-2

OUT

CASCADE

NETWORK CASCADE

(male) (female)

CAT5 Cable

D-sub 68pin (male) Cable

XLR Cable

Speakon Cable

D-sub 68pin (male) Cable

CAT5 Cable

D-sub 68pin (male) Cable

IS1218

IF2115

IS1218

IF2115

DSP5D GENERAL SPECIFICATIONS

Internar Signal Processing 32-bit (Accumulator 58-bit)

Sampling Frequency Internal 44.1kHz, 48kHz, 88.2kHz, 96kHz

External Normal rate: 44.1kHz — 48kHz

Double rate: 88.2kHz — 96kHz

Signal Delay Less Than 2.3ms INPUT to OMNI OUT (@ Fs = 48kHz)

Less Than 1.15ms INPUT to OMNI OUT (@ Fs = 96kHz)

Total Harmonic Distortion Less Than 0.05% 20Hz - 20kHz @+4dBu into 600Ω

INPUT 1 — 48ch to OMNI OUT 1-24ch

(@ Sampling frequency = 44.1kHz or 48kHz)

Input Gain = Min. Less Than 0.05% 20Hz - 20kHz @+4dBu into 600Ω

INPUT 1 — 48ch to OMNI OUT

(@Sampling frequency = 96kHz)

Requency Response 1.0, -3.0dB 20Hz — 20kHz @1kHz into 600Ω

INPUT 1 — 48ch to OMNI OUT

(@ Sampling frequency = 44.1kHz or 48kHz)

1.0, -3.0dB 20Hz — 40kHz @1kHz into 600Ω

INPUT 1 — 48ch to OMNI OUT

(@ Sampling frequency = 96kHz)

Dynamic Range 110 typ. DA Converter (OMNI OUT)

(@ Sampling frequency = 44.1kHz or 48kHz)

108 typ. AD + DA (to OMNI OUT)

GAIN; Min., PAD: ON (@ Sampling frequency = 44.1kHz or 48kHz)

110 typ. DA Converter (OMNI OUT)

(@ Sampling frequency = 96kHz)

106 typ. AD + DA (to OMNI OUT)

GAIN; Min., PAD: ON (@ Sampling frequency = 96kHz)

Hum & Noise 128dBu Equivalent Input Noise (20Hz - 20kHz)

Rs=150Ω, Input Gain = Max.

-86dBu Residual Output Noise, OMNI OUT

Crosstalk @1kHz -80dB adjacent INPUT channels(1 — 48ch)

-80dB INPUT to OMNI OUT

Power Requirements AC 100 — 240V 50/60Hz

Dimensions W x D x H (mm) 480 x 453 x 488

Net Weight 38kg

Operation free-air Temperature Range 10 — 35˚C

Storage Temperature Range -20 — 60˚C

22 23

5. Opera House with Orchestra Pit and Stage DSP5D Units

In this system, which is designed primarily for an opera-house type situation, one DSP5D unit is located in the orchestra

pit while the second DSP5D unit is located on stage. As in the preceding systems a DCU5D is connected to the console at

the rear of the house via the D-sub 68-pin and CAT5 cascade cables, and an Ethernet cable connects to the first DSP5D.

The second DSP5D is connected to the first DSP5D via a DCU5D unit in the same way. This makes 48 microphone/line

inputs available in the orchestra pit, and another 48 microphone/line inputs available on stage. The DSP5D head amps

can be controlled directly from the PM5D-RH V2 console. A pair of DME64N units connected to the stage DSP5D outputs

perform processing and distribution for the FOH speakers, box-seat speakers, and a back-stage speaker system. The

orchestra pit DSP5D directly feeds powered monitors for the musicians in the pit.

(male) (female)

CAT5 Cable

D-sub 68pin (male) Cable

D-sub 25pin (male) Cable

XLR Cable

Speakon Cable

PM5D (RH)

OUTCASC

ASC

ADE IN

CASC

ASC

ADE IN

CASCADE

CASCADE IN OUT CASCADE IN

DSP5D-1

DCU5D-1

Stage

Ochestra Pit

T5n

DME64N

AMP Rack

Dressing Room

IS1218

IF2115

IS1218

IF2115

AVIOM 16/o-Y1

IF2108

MY8-DA96

T5n

DSP5D-2

DCU5D-2

PM5D V2, PM5D-RH V2 GENERAL SPECIFICATIONS

All faders are nominal when measured. Output impedance of signal generator:150Ω

Internal Signal Processing 32-bit (Accumulator 58-bit)

Sampling Frequency Internal 44.1kHz, 48kHz, 88.2kHz, 96kHz

External Normal rate: 44.1kHz — 48kHz

Double rate: 88.2kHz — 96kHz

Signal Delay Less Than 2.3ms INPUT to STEREO A, B (@ Fs = 48kHz)

Less Than 1.15ms INPUT to STEREO A, B (@ Fs = 96kHz)

Fader Moterized, Stroke: 100mm All Faders

Fader Resolution +10 — -138, -∞dB All Faders

Total Harmonic Distortion Less Than 0.05% 20Hz — 20kHz @+4dBu into 600Ω

INPUT 1 — 48ch to STEREO A,B OUT (@Sampling frequency = 44.1kHz or 48kHz)

Input Gain = Min. Less Than 0.05 % 20Hz — 40kHz @+4dBu into 600Ω

INPUT 1 — 48ch to STEREO A,B OUT (@Sampling frequency = 88.2kHz or 96kHz)

Frequency Response PM5D 0.5, -1.5dB 20Hz — 20kHz @1kHz into 600Ω

INPUT 1 — 48ch to STEREO A,B OUT

(@Sampling frequency = 44.1kHz or 48kHz)

0.5, -2dB 20Hz — 40kHz @1kHz into 600Ω

INPUT 1 — 48ch to STEREO A,B OUT

(@Sampling frequency = 88.2kHz or 96kHz)

PM5D-RH 1.0, -3.0dB 20Hz — 20kHz @1kHz into 600Ω

INPUT 1 — 48ch to STEREO A,B OUT

(@Sampling frequency = 44.1kHz or 48kHz)

1.0, -3.0dB 20Hz — 40kHz @1kHz into 600Ω

INPUT 1 — 48ch to STEREO A,B OUT

(@Sampling frequency = 88.2kHz or 96kHz)

Dynamic Range 110 typ. DA Converter (STEREO A, B OUT)

(Max. level to noise level) (@Sampling frequency = 44.1kHz or 48kHz)

108 typ. AD + DA (to STEREO A, B OUT),

GAIN: Min., PAD: ON (@Sampling frequency = 44.1kHz or 48kHz)

110 typ. DA Converter (STEREO A, B OUT) (@Sampling frequency = 96kHz)

106 typ. AD + DA (to STEREO A, B OUT),

GAIN: Min., PAD: ON (@Sampling frequency= 88.2kHz or 96kHz)

Hum & Noise -128dBu Equivalent Input Noise (20Hz — 20kHz) STEREO A, B OUT

Rs = 150Ω-86dBu Residual Output Noise, ST Master Off.

Input Gain = Max.

Input Pad = 0dB

Input sensitivity = -60dB

Maximum Voltage Gain

84dB INPUT 1 — 48 to STEREO A, B OUT, Rs = 150Ω, Input Gain: Max., PAD: Off

@1kHz 84dB INPUT 1 — 48 to MIX OUT/MATRIX OUT/CUE OUT/MONITOR OUT

(via STEREO Bus)

* Input Gain = Min.

* Hum & Noise is measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite

dB/octave attenuation.

* Total Harmonic Distortion is measured with a 18dB/octave filter @80kHz

* Dynamic range is measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite

dB/octave attenuation.

Crosstalk -80dB Ajacent Input 1 — 48

@1kHz -80dB Input to Output

Power Requirements PM5D 480W DC 24V 20A (Use PW800W Only)

PM5D-RH 528W DC 24V 25A (Use PW800W Only)

Dimensions W x D x H (mm) 1551 x 950 x 283

Net Weight PM5D: 98kg, PM5D-RH: 97kg

Operation free-air Temperature Range 10 — 35˚C

Storage Temperature Range -20 — 60˚C

LIBRARIES

Name Number Total

Scene Memory Preset 1 + User 500 501

Input Patch Library Preset 1 + User 99 100

Output Patch Library Preset 1 + User 99 100

Input Channel Library Preset 1 + User 199 200

Output Channel Library Preset 1 + User 199 200

Input EQ Library Preset 40 + User 159 199

Output EQ Library Preset 3 + User 196 199

GATE Library Preset 4 + User 195 199

COMP Library Preset 36 + User 163 199

Effect Library Preset 55 + User 145 200

GEQ Library Preset 1 + User 199 200

HA Library Preset 1 + User 199 200

PW800W GENERAL SPECIFICATIONS

Power Requirements 100 — 240V, 50/60Hz 1000W (Max.)

Dimensions W x H x D (mm) 480 x 132 (=3U) x 355

DC Output Voltage 24V

Current 23A (Max.)

Net Weight 10 kg

Operation Temperature Range 10 — 35°C

Storage Temperature Range -20 — 60°C

PW800W OUTPUT SPECIFICATIONS

OUTPUT TERMINAL FORMAT LEVEL CONNECTOR

DC OUTPUT — DC 24V JL05-2A22-14PC 24pin (Male)

DSC5D GENERAL SPECIFICATIONS

Sampling Frequency Nomal rate; 44.1kHz - 48kHz

Double rate; 88.2kHz - 96kHz

Power Requirements 100-240V 50/60Hz

DC IN; XLR-4-32 type (4pin=+12V, 1pin=GND), 12V±5%, 1.5A

Dimensions W x D x H (mm) 480 x 162 x 44

Net Weight 2.3kg

Operation free-air Temperature Range 10 — 35°C

Storage Temperature Range -20 — 60°C

IF2108

HEADPHONE

AVIOM A16-II

HEADPHONE

AVIOM A16-II

HEADPHONE

AVIOM A16-II

24 25

Dimensions

PM5D V2 ANALOG INPUT CHARACTERISTICS

PM5D-RH V2 ANALOG INPUT CHARACTERISTICS

Input Terminals PAD GAIN Actual Load For Use With Nominal GAIN SW *4 Input Level Connector

Impedance Sensitivity *1 Nominal Max. Before Clip

0-60dB -80dBu (0.0775mV) -60dBu (0.775mV) -40dBu (7.75mV)

INPUT 1 – 48 -16dB 3kΩ50-600ΩMics & 600ΩLines — -36dBu (12.3mV) -16dBu (123mV) +4dBu (1.23V) XLR-3-31 Type (Balanced) *2

26 -10dBu (245mV) +10dBu (2.45V) +30dBu (24.51V)

STEREO INPUT 1 – 4 [L, R] -34dB 4kΩ600ΩLines — -54dBu (1.55mV) -34dBu (15.5mV) -14dBu (155mV) XLR-3-31 Type (Balanced) *2

10dB -10dBu (245mV) +10dBu (2.54V) +30dBu (24.51V)

INSERT IN 1 – 48 10kΩ600ΩLines — -16dBu (123mV) +4dBu (1.23V) +24dBu (12.28V) Phone Jack (TRS) (Balanced) *3

2TR IN ANALOG 1, 2 [L, R] 10kΩ600ΩLines +24dB (default) -6dBu (388mV) +4dBu (1.23V) +24dBu (12.28V) XLR-3-31 Type (Balanced) *2

+18dB -12dBu (195mV) -2dBu (0.616V) +18dBu (6.16V)

TALKBACK 3kΩ50-600ΩMics & 600ΩLines — -60dBu (0.775mV) -50dBu (2.45mV) -30dBu (24.5mV) XLR-3-31 Type (Balanced) *2

PM5D V2/PM5D-RH V2 ANALOG OUTPUT CHARACTERISTICS

Output Terminals Actual Source For Use With Nominal GAIN SW *4 Output Level Connector

Impedance Nominal Max. Before Clip

STEREO A, B [L, R] 150Ω600ΩLines +24dB (default) +4dBu (1.23 V) +24dBu (12.28 V) XLR-3-32 Type (Balanced) *1