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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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
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
Stage
PM5D (RH)
OUTCASCADE IN
ADE IN
CASC
ASC
ADE IN
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
AD8HR
AD8HR
HA Remote
HA Remote
HA Remote
PM5D
Stage
PM5D (RH)
OUTCASC
ASC
ADE IN
ADE IN
CASC
ASC
ADE IN
ADE IN
CASCADE
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
ADE IN
CASC
ASC
ADE IN
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
IF2108
IF2108
IF2108
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
+18dB -2dBu (616mV) +18dBu (6.16V)
MONITOR OUT [L, R, C] 150Ω600ΩLines +24dB (default) +4dBu (1.23 V) +24dBu (12.28 V) XLR-3-32 Type (Balanced) *1
+18dB -2dBu (616mV) +18dBu (6.16V)
CUE OUT [L, R] 150Ω600ΩLines +24dB (default) +4dBu (1.23 V) +24dBu (12.28 V) XLR-3-32 Type (Balanced) *1
+18dB -2dBu (616mV) +18dBu (6.16V)
MATRIX OUT 1 – 8 150Ω600ΩLines +24dB (default) +4dBu (1.23 V) +24dBu (12.28 V) XLR-3-32 Type (Balanced) *1
+18dB -2dBu (616mV) +18dBu (6.16V)
MIX OUT 1 – 24 150Ω600ΩLines +24dB (default) +4dBu (1.23 V) +24dBu (12.28 V) XLR-3-32 Type (Balanced) *1
+18dB -2dBu (616mV) +18dBu (6.16V)
INSERT OUT 1 – 48 150Ω10kΩLines — +4dBu (1.23 V) +24dBu (12.28 V) Phone Jack (TRS) (Balanced) *2 *5
PHONES (x2) 15Ω8ΩPhones — 75mW (*6) 150mW Stereo Phone Jack (TRS)
40
Ω
Phones — 65mW (*6) 150mW (Unbalanced) *3
Input Terminals GAIN Actual Load For Use With Nominal GAIN SW *4 Input Level Connector
Impedance Sensitivity *1 Nominal Max. Before Clip
INPUT 1 – 48 -62dB 3kΩ50-600ΩMics & 600ΩLines — -82dBu (61.6µV) -62dBu (0.616mV) -42dBu (6.16mV) XLR-3-31 Type (Balanced) *2
+10dB -10dBu (245mV) +10dBu (2.45V) +30dBu (24.5V)
STEREO INPUT 1 – [L, R] -62dB 3kΩ50-600ΩMics & 600ΩLines — -82dBu (61.6µV) -62dBu (0.616mV) -42dBu (6.16mV) XLR-3-31 Type (Balanced) *2
+10dB -10dBu (245mV) +10dBu (2.45V) +30dBu (24.5V)
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
*1. Sensitivity is the lowest level that will produce an output of +4dBu (1.23V) or the nominal output level when the unit is set to maximum gain. (All faders and level controls are maximum position.)
*2. XLR-3-31 type connectors are balanced. (1 = GND, 2 = HOT, 3 = COLD)
*3. Phone jacks are balanced. (Tip = HOT, Ring = COLD, Sleeve = GND)
*4. There are switches inside the body to preset the maximum input level.
• In these specifications, 0dBu = 0.775 V rms.
• All input AD converters are 24bit linear, 128times (@48kHz) oversampling.
• +48V DC (phantom power) is supplied to INPUT (1 – 48) XLR type connectors via each individual switch.
*1. XLR-3-32 type connectors are
balanced. (1 = GND, 2 = HOT,
3 = COLD)
*2. Phone jack are balanced.
(Tip = HOT, Ring = COLD,
Sleeve = GND)
*3. PHONES stereo phone jack is
unbalanced. (Tip = LEFT,
Ring = RIGHT, Sleeve = GND)
*4. There are switches inside the
body to preset the maximum
output level.
*5. INSERT OUTs are only provided
for PM5D.
*6. The position of the level control is
10dB lowered from Max.
• In these specifications,
0dBu = 0.775 Vrms.
• All output DA converters are 24bit,
128times (@48kHz) oversampling.
PM5D V2/PM5D-RH V2 SLOT (1-4) CHARACTERISTICS
Card Name Function Input Output The Number Of
Usable Cards
MY4-AD ANALOG IN 4 IN — 4
MY8-AD24 ANALOG IN 8 IN — 4
MY8-AD96 ANALOG IN 8 IN — 4
MY4-DA ANALOG OUT — 4 OUT 4
MY8-DA96 ANALOG OUT — 8 OUT 4
MY8-AE96 AES/EBU 8 IN 8 OUT 4
MY8-AE96S AES/EBU 8 IN 8 OUT 4
PM5D V2/PM5D-RH V2 DIGITAL INPUT CHARACTERISTICS
Terminal Format Data Length Level Connector
2TR IN 1 AES/EBU AES/EBU 24bit RS422 XLR-3-31 Type (Balanced) *1
DIGITAL 2AES/EBU AES/EBU 24bit RS422 XLR-3-31 Type (Balanced) *1
(*2)
3COAXIAL IEC-60958 24bit 0.5Vpp/75ΩRCA Pin Jack
CASCADE IN — — RS422
D-Sub Half Pitch Connector 68P (Female)
*1. XLR-3-31 type connectors are balanced. (1 = GND, 2 = HOT, 3 = COLD)
*2. With Sampling Rate Converter.
Each I/O SLOT accepts a Digital Interface card.
PM5D V2/PM5D-RH V2 DIGITAL OUTPUT CHARACTERISTICS
Terminal Format Data Length Level Connector
2TR OUT 1AES/EBU AES/EBU 24bit *1 RS422 XLR-3-32 Type (Balanced) *2
DIGITAL
Professional Use
(*3)
2AES/EBU AES/EBU 24bit *1 XLR-3-32 Type (Balanced) *2
Professional Use
3COAXIAL IEC-60958 24bit *1 0.5Vpp/75ΩRCA Pin Jack
Consumer Use
CASCADE OUT — — RS422
D-Sub Half Pitch Connector 68P (Female)
*1. Dither :word length 16/20/24 bit
*2. XLR-3-32 type connectors are balanced. (1 = GND, 2 = HOT, 3 = COLD)
*3. With Sampling Rate Converter.
Specifications and appearance are subject to change without notice.
All trademarks and registered trademarks are property of their respective owners.
*Only SLOT1 has a Serial Interface.
Card Name Function Input Output The Number Of
Usable Cards
MY8-AT ADAT 8 IN 8 OUT 4
MY8-TD TASCAM 8 IN 8 OUT 4
MY8-AE AES/EBU 8 IN 8 OUT 4
MY16-AT ADAT 16 IN 16 OUT 4
MY16-TD TASCAM 16 IN 16 OUT 4
MY16-AE AES/EBU 16 IN 16 OUT 4
MY16-C* CobraNet 16 IN 16 OUT 4
PM5D V2/PM5D-RH V2 CONTROL INPUT/OUTPUT CHARACTERISTICS
Terminal Format Level Connector
TO HOST USB USB1.1 0V-3.3V B type USB Connector
MIDI IN MIDI — DIN-5pin
OUT MIDI — DIN-5pin
THRU MIDI — DIN-5pin
TIME CODE IN SMPTE SMPTE 0.3Vpp(min.)/10Vpp(max.), 10kΩXLR-3-31 type
WORD CLOCK IN — TTL/75Ω(ON/OFF) BNC
OUT — — BNC
GPI — TTL/75ΩD-sub 25pin(female)
HA REMOTE — — D-sub 9pin(male)
REMOTE — RS422 D-sub 9pin(female)
KEYBOARD PS/2 RS422 DIN 6pin
MOUSE PS/2 — DIN 6pin
]
LAMP 1,2,3 — 2.5V-11.5V XLR-4-31 type
MEMORY CARD — — PCMCIA(CF)
DSP5D ANALOG INPUT CHARACTERISTICS
Input Terminals GAIN Actual Load Impedance For Use With Nominal Output Level Connector
Sensitivity*1 Nominal Max. Before Clip
INPUT 1 – 48 -62dB 3kΩ50-600ΩMics. & -82dBu -62dBu -42dBu XLR-3-31 Type
+10dB 600ΩLines -10dBu -10dBu +30dBu (Balanced) *2
ST IN 1 – 4 [L, R] -62dB 3kΩ50-600ΩMics. & -82dBu -62dBu -42dBu XLR-3-31 Type
+10dB 600ΩLines -10dBu -10dBu +30dBu (Balanced) *2
*1. Sensitivity is the lowest level that will produce an output of +4dBu (1.23V) or the nominal output level when the unit is set to maximum gain. (all faders and level controls are maximum position.)
*2. XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*3. All input AD converters are 24bit linear, 128times (@48kHz) oversampling.
*4. +48V DC (phantom power) is supplied to INPUT (1 – 48) XLR type connectors via one master software controled switch and each individual software controled switches.
*5. There are switches inside the body to preset the maximum input level.
DSP5D ANALOG OUTPUT CHARACTERISTICS
Output Terminals Actual Source Impedance For Use With Nominal GAIN SW*5 Output Level Connector
Nominal
Max. Before Clip
OMNI OUT – 24 150kΩ600ΩLines +24dB (default) +4dBu +24dBu XLR-3-32 Type (Balanced) *1
+18dB -2dBu +18dBu
*1. XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*2. All output DA converters are 24bit, 128times (@48kHz) oversampling.
*3. There are switches inside the body to preset the maximum output level.
DSP5D DIGITAL INPUT CHARACTERISTICS
Terminal Format Data Length Level Connector
CASCADE IN — — RS422 D Sub Half Pitch Connector 68P (Female)
CASCADE IN — — 100 Base-TX (RJ-45) Ether-Con
*1. CASCADE cable max. 200m@48KHz, 50m@96KHz.
DSP5D DIGITAL OUTPUT CHARACTERISTICS
Terminal Format Data Length Level Connector
CASCADE OUT — — RS422 D Sub Half Pitch Connector 68P (Female)
CASCADE OUT — — 100 Base-TX (RJ-45) Ether-Con
*1. CASCADE cable max. 200m@48KHz, 50m@96KHz.
283
271
260
283
271
260
1551
1450
950
865
1551
1450
950
865
Unit: mmUnit: mm PM5D-RH V2
PM5D V2

26 27
Block Diagram
Analog
dBu dBFS Bit
Digital
Analog
GAINPAD
1Max. Input [+30dBu]
2Max. Input [+24dBu]
1Nominal
Input [+10dBu]
2Nominal [+4dBu]
Input
3
Nominal Input [-34dBu]
5
Max. Input [-30dBu]
4Nominal Input [-60dBu]
5Nominal Input [-50dBu]
1INPUT 1-48 (GAIN MIN.,PAD ON)
ST IN (GAIN MIN.)
2INSERT IN 1-48
2TR IN ANALOG 1,2 [L,R] (default setting)
3ST IN (GAIN MAX.)
4INPUT 1-48 (GAIN MAX.,PAD OFF)
5TALKBACK
3Max. Input [-14dBu]
4Max. Input [-40dBu]
INPUT
PATCH
MS-
DECDE
EQ
(x4)
DCA
(x8)
EQ
(x8/4)
MASTER
LEVEL
MASTER
ON
OUTPUT
PATCH
DCA
(x2)
BUS
Adder
AD ATT. INSERT
INSERT IN IN
OUT OUT OUT OUT OUT OUT
CASCADE OUT
CASCADE IN
OUT
IN IN IN IN IN
ININ
GATE COMP INSERT INSERT INSERT INSERT INSERT
Digital Clipping Level
DELAY DABALINSERT COMP
ON PAN
DELAY LEVELINSERTHPFPHASE
Digital AnalogDigital
+20
+10
+24
+4
+30 0
0
-10
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
-130
-140
-150
-160
-170
-180
-190
-10
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
-130
-140
-150
-160
-170
-180
-190
[0dBu = 0.775Vrms]
[0dBFS = Full Scale]
-200
-210
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
Analog
dBu
+20
+10
+24
+4
+30
-10
0
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
-130
Max. DSP Noise Floor
-140
-150
-160
-170
-180
-190
0
STEREO A,B[L,R]
MONITOR OUT[L,R,C]
CUE OUT[L,R]
MATRIX OUT1-8
MIX OUT1-24
INSERT OUT 1-48
[The position of the level
control is 10dB lowered
from Max]
Max Output
(150mW@8Ω)
Nominal Output
(75mW@8Ω)
default setting
PHONES
Nominal Output
[+4dBu]
Max. Output
[+24dBu]
System Level Diagram
Analog
dBu dBFS Bit
Digital
Analog
GAIN
1Max. Input [+30dBu]
2Max. Input [+24dBu]
1Nominal
Input [+10dBu]
2Nominal [+4dBu]
Input
4Nominal [-50dBu]
Input
3Nominal [-62dBu]
Input
1INPUT 1-48 (GAIN MIN.)
ST IN (GAIN MIN.)
22TR IN ANALOG 1,2 [L,R] (default setting)
3INPUT 1-48 (GAIN MAX.)
ST IN (GAIN MAX.)
4TALKBACK
3Max. Input [-42dBu]
4Max. Input [-30dBu]
INPUT
PATCH
MS-
DECDE
EQ
(x4)
DCA
(x8)
EQ
(x8/4)
MASTER
LEVEL
MASTER
ON
OUTPUT
PATCH
DCA
(x2)
BUS
Adder
AD ATT. INSERT
INSERT IN IN
OUT OUT OUT OUT OUT OUT
CASCADE OUT
CASCADE IN
OUT
IN IN IN IN INININ
GATE COMP INSERT INSERT INSERT INSERT INSERT
Digital Clipping Level
DELAY DA
BAL
INSERT COMPON PANDELAY LEVELINSERTHPFPHASE
Digital AnalogDigital
+20
+10
+24
+4
+30 00
-10
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
-130
-140
-150
-160
-170
-180
-190
-10
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
-130
-140
-150
-160
-170
-180
-190
[0dBu = 0.775Vrms]
[0dBFS = Full Scale]
-200
-210
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
Analog
dBu
+20
+10
+24
+4
+30
-10
0
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
-130
Max. DSP Noise Floor
-140
-150
-160
-170
-180
-190
0
STEREO A,B[L,R]
MONITOR OUT[L,R,C]
CUE OUT[L,R]
MATRIX OUT1-8
MIX OUT1-24
[The position of the level
control is 10dB lowered
from Max]
Max Output
(150mW@8Ω)
Nominal Output
(75mW@8Ω)
default setting
PHONES
Nominal Output
[+4dBu]
Max. Output
[+24dBu]
PM5D V2 / PM5D-RH V2
DSP5D
PM5D V2
PM5D-RH V2
[MIX OUT]
(1~24)
FX RTN 1-4
ST IN 1-4
(1-48)
[INPUT]
(1-4)
[ST IN]
PM5D RH(Recallable HA)
PM5D(No Recallable HA)
(1-48)
CH41-48 Pos EQ
2
8
24
STEREO B
MATRIX1-8
MIX1-24
DIRECT OUT 1-STIN-4R
INSERT OUT
2
STEREO A
1
OSC OUT(Lch) 1
TB OUT
56
95
3
MONITOR L,R,C
ATT INPUT
DELAY
CUE
PreEQ/
PreFader/
Pos ON
DIRECT OUT
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
CH1-8 Pos EQ/
CH9-16 Pos EQ/
...
CH41-48 Pos EQ
LINK ON/OFF
PAN
HPF
ON
TO ST
MIX1-24 STA
LEVEL/
DCA1-8 ON
MIX1
MIX24
FIX
VARI
MIX2
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
CH1-8 Pos EQ/
CH9-16 Pos EQ/
...
LINK ON/OFF
MIX PAIR
FIXED MIX PAN
PFL/
AFL/
Pos PAN
KEYIN CUE
INSERT INSERT
INSERT IN
INSERT OUT
PreEQ/
Pos EQ/
PreDelay/
Pos Fader
CUER
PHONES
LEVEL
CUE L
CASCADE OUT
From CASCADE IN SELECT
MONITOR
SELECT
INPUT/
OUTPUT/
DCA
TRIM
2
2TR IN D1
2
STEREO B
2
STEREO A
2
2TR IN D3
2
2TR IN D2
22TR IN A1
2
2TR IN A2
MONITOR
DELAY
MONITOR
DELAY
INSERT OUT INSERT IN
31BAND
GEQ
METERMETER
Pair configura ion of Mono channel
METER
LEVEL/
DCA7-8BAL ON
INSERT INSERT INSERT
OUTPUT
DELAY
INSERT
o MATRIX To OUTPUT PATCH
MONO
To OUTPUT PATCH
INSERT
PAN
MIX o STEREO
ON
LEVEL/
DCA7-8 ON
PreFader/
Pos Fader/
Pos ON
INSERT INSERT
OUTPUT
DELAY
INSERT
Same as he mix mas er 1
o MATRIX To OUTPUT PATCH
METER
MIX 1
MIX 24
1
8
L
R
L
C
R
CUE
PAN
ON
TO ST
LEVEL/
DCA1-8 ON
MIX1
MIX24
FIX
VARI
MIX2 MIX PAIR
FIXED MIX PAN
PFL/
AFL/
POST PAN
MATRIX3
MATRIX4
MATRIX5
MATRIX6
MATRIX7
MATRIX8
MATRIX2
MATRIX1
INSERT
ON
INSERT INSERT INSERT
OUTPUT
DELAY
Same as he above
STEREO B-L
STEREO B-R
STEREO A-L
STEREO A-R
LEVEL69
MIX1
MIX24
Same as he ma rix mas er 1
To OUTPUT PATCH
Pre EQ/
PreFader/
Pos ON
CUE OUT
LEVEL
AD
INPUT
+48V
INSERT OUT
INSERT IN
TO TALKBACK SELECT
SIGNAL
PEAK
GAIN
INSERT
PAD
INPUT 1-48
0
26
OFF
ON
OFF
ON
SRC
SRC
SRC
2
2
2
DITHER
DITHER
DITHER
DITHER
OUTPUT PATCH
SLOT1 16
SLOT2 16
SLOT3 16
SLOT4 16
DITHER
DITHER
DITHER
MONITOR
DELAY
Same as he monaural inpu
Same as he s ereo mas er A
AD
TALKBACK
ON
To OUTPUT PATCH
LEVEL
LEVEL ON
USE IN (1-48)
AS TALKBACK
To OUTPUT PATCH
Same as he above
Same as he above
IN 1-48
CUE OUT
DELAY
CUE OUT
DELAY
MONO
CUE
Same as he s ereo mas er L
To OUTPUT PATCH
MONO
To MONITOR SELECT
To MONITOR SELECT
To MONITOR SELECT
DIM
CUE/SOLO LOGIC
AES/EBU
AES/EBU
COAXIAL
METER
METER
+48V
ON
OFF
30
30
8
24
MATRIX1-8
MIX1-24
DEFINE
2
BYPASS
OUT ATT.
OSC(L)
OSC(R)
Pink Noise
MS-
DECODE
POST
TO ST
ON
STB
(C) CUE
CUE
To OUTPUT PATCH
To OUTPUT
PATCH
FOLLOW
PAN
POST
TO ST
CUE
ON
LCR
CSR ON
LCR
CSR ON
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
S ereo A,B,Ma rix1-8 Pos EQ
LINK ON/OFF
Keyin
Self Pre EQ/Self Pos EQ/Mix21-24 OUT/
Mix1-12 Pos EQ/Mix13-24 Pos EQ
LINK ON/OFF
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
S ereo A,B,Ma rix1-8 Pos EQ
LINK ON/OFF
FOLLOW
PAN
32
BI DIRECTION
From
CASCADE IN
SELECT
ON
BI DIRECTION
ON
BI DIRECTION
ON
From
CASCADE IN
SELECT
PreFader/
Pos Fader/
Pos ON
LCR
CSR ON
ATT
METER
METER
METER
METER
METER
HPF
OUT ATT.
PreAT
T
METER
Inser In
METER
4BAND
EQ
IN OUT
METERMETER
GATE COMP
Keyin Fil er
OUT
IN
METER
GR
METER
METER
METER
METER
GR
METER
OUT
METER
KEYIN
KEYIN
INSERT
METER
Pos Fader Pos ON
4BAND
EQ
IN OUT
METERMETER
PreAT
T
METER
METER
Pos Fader
Pos ON
TALKBACK
SELECT
SELECT SPECTRUM
ANALYZER
12
8BAND
EQ
IN OUT
METERMETER
METER
KEYIN
IN
METER
METER
GR
METER
OUT
COMP
8BAND
EQ
IN OUT
METERMETER
METER
KEYIN
IN
METER
METER
GR
METER
OUT
COMP
4BAND
EQ
IN OUT
METERMETER
KEYIN
IN
METER
METER
GR
METER
OUT
COMP
METER
Pos Fader Pos ON
Pos Delay
Pos Fader Pos ON Pos Delay
METER
Pos Fader Pos ONPos Delay
CASCADE
OUT
ON/OFF
Lch
METER
Rch
METER
1
AD
GAIN
ST IN 1-4 L
AD
GAIN
ST IN 1-4 R
SIGNAL
PEAK
SIGNAL
PEAK
ST IN L
ST IN R
INPUT
+48V
TO TALKBACK SELECT
SIGNAL
PEAK
GAIN
OFF
ON
AD
+48V MASTER
ON
OFF
ON
INPUT 1-48
FX7 OUT L/R
FX8 OUT L/R
FX1 OUT L/R
FX4 OUT L/R
FX6 OUT L/R
FX2 OUT L/R
FX3 OUT L/R
FX5 OUT L/R
INPUT PATCH
16
16
16
16
FX7 IN L/R
FX8 IN L/R
FX1 IN L/R
FX4 IN L/R
FX6 IN L/R
FX2 IN L/R
FX3 IN L/R
FX5 IN L/R EFFECT
1-8
24
95
SELECT
METER EFFECT
SLOT1 1-16
SLOT2 1-16
SLOT3 1-16
SLOT4 1-16
2TR IN D1 L/R
2TR IN D2 L/R
2TR IN D3 L/R
2SRC
2SRC
SRC
AES/EBU
AES/EBU
COAXIAL 2
AD
To MONITOR SELECT
10
2TR IN A1 L/R
2TR IN A2 L/R
AD
L
R
L
R
16
16
16
16
To BUS SUMMING
32 30
CASCADE IN SELECT
SIGNAL
PEAK
GAIN
OFF
ON
AD
ON
SIGNAL
PEAK
GAIN
OFF
ON
AD
ON
ST IN L
SLOT1
SLOT2
SLOT3
SLOT4
2TR IN DIGITAL 1
2TR IN DIGITAL 2
2TR IN DIGITAL 3 GEQ 1(...12)
2TR IN DIGITAL 4
2TR IN DIGITAL 5
ST IN R
ST IN 1-4 L
ST IN 1-4 R
x48
x4
x48
x4
PreFader
PreFader
PreFader
PreFader
LEVEL/
DCA7-8
PreFader
To
METER
To METER
PreATT
PreGa e
PreATT
To
To METER
PreEQ
To METER
PreEQ
To METER
PreEQ
INSERT OUT
[STEREO A]
[STEREO A]
[MATRIX OUT]
(1~8)
CUE OUT
PHONES
MONITOR OUT
PreEQ/
Pos EQ/
PreFader/
Pos On
INSERT OUT
PreEQ/
Pos EQ/
PreFader/
Pos On
INSERT OUT
PreEQ/
Pos EQ/
PreFader/
Pos On
ON
ON
PreGa e
TB OUT
OSC OUT
To OUTPUT PATCH
PreEQ
PreHPF
PreFader
Pos ON
To OUTPUT PATCH
To OUTPUT PATCH
L
L
R
R
To OUTPUT PATCH
To OUTPUT PATCH
From 2TR IN DIGITAL1-3,
ANALOG1-2
Burs Noise HPF LPF
OUT ATT.
DIM
DA
DA
DA
DA
DA
DA
INSERT
PFL/
Pos ON
PFL/
Pos ON
PreON/
Pos ON
PFL/
Pos ON
CASCADE
IN
ON/OFF
Pair configura ion of Mono channel
Ex ernal CUE
SELECT
SLOT1-4(1-16)
TO
Ex ernal
CUE
SELECT
+48V
TO TALKBACK
ON
To OUTPUT PATCH
INSERT
INSERT
INSERT
MONITOR
LEVEL
DA
DA
DA
DIGITAL
MONITOR
LEVEL
DA
OUT ATT.
DA
OUT ATT.
DA
OUT ATT.
DA
DA
OUT ATT.
DA
OUT ATT.
DA
OUT ATT.
2
8
24
STEREO B
MATRIX1-8
MIX1-24
INSERT OUT
2
STEREO A
1
OSC OUT(Lch) 1
TB OUT
95
3
MONITOR L,R,C
PreATT
DIGITAL
CUE
LEVEL
[INPUT]
(1-4)
[ST IN]
CASCASE IN
MIX 1~24
INSERT OUT
CH 1(...48)
SLOT1
SLOT2
SLOT3
SLOT4
2TR OUT DIGITAL 1
2TR OUT DIGITAL 2
2TR OUT DIGITAL 3
CH 1(...48)
ATT INPUT
DELAY
CUE
PreEQ/
PreFader/
Pos ON
DIRECT OUT
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
CH1-8 Pos EQ/
CH9-16 Pos EQ/
...
CH41-48 Pos EQ
LINK ON/OFF
PAN
HPF
ON
TO ST
MIX1-24 ST A
LEVEL/
DCA1-8 ON
MIX1
MIX24
FIX
VARI
MIX2
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
CH1-8 Pos EQ/
CH9-16 Pos EQ/
...
CH41-48 Pos EQ
LINK ON/OFF
MIX PAIR
FIXED MIX PAN
PFL/
AFL/
Pos PAN
KEYIN CUE
INSERT INSERT
INSERT IN
INSERT OUT
PreEQ/
Pos EQ/
PreDelay/
Pos Fader
CUE R
CUE L
CASCADE OUT D-SUB
To CASCADE IN/OUT RJ-45
INPUT/
OUTPUT/
DCA
TRIM
GEQ 1(...12)
INSERT OUT INSERT IN
31BAND
GEQ
METER
ST IN 1-4
Pair configura ion of Mono channel
METER
LEVEL/
DCA7-8BAL ON
INSERT INSERT INSERT
OUTPUT
DELAY
INSERT
oMATRIX
To OUTPUT PATCH
MONO
To OUTPUT PATCH
INSERT
PAN
MIX o STEREO
ON
LEVEL/
DCA7-8 ON
PreFader/
Pos Fader/
Pos ON
INSERT INSERT
OUTPUT
DELAY
INSERT
Same as he mix mas er 1
o MATRIX To OUTPUT PATCH
METER
CUE
PAN
ON
TO ST
LEVEL/D
CA1-8 ON
MIX1
MIX24
FIX
VARI
MIX2 MIX PAIR
FIXED MIX PAN
PFL/
AFL/
POST PAN
MATRIX3
MATRIX4
MATRIX5
MATRIX6
MATRIX7
MATRIX8
MATRIX2
MATRIX1
INSERT
ON
INSERT INSERT INSERT
OUTPUT
DELAY
Same as he above
STEREO B-L
STEREO B-R
STEREO A-L
STEREO A-R
LEVEL
MIX1
MIX24
Same as he ma rix mas er 1
To OUTPUT PATCH
Pre EQ/
PreFader/
Pos ON
SLOT1
DITHER
SLOT2
DITHER
OUTPUT PATCH
SLOT1 16
SLOT2 16
Same as he monaural inpu
Same as he s ereo mas er A
TALKBACK ON
To OUTPUT PATCH
LEVEL ON
To OUTPUT PATCH
Same as he above
Same as he above
IN 1-48 CUE OUT
DELAY
CUE OUT
DELAY
CUE
Same as he s ereo mas er L
To OUTPUT PATCH
MONO
METER
32
BYPASS
OSC(L)
OSC(R)
Pink Noise
MS-
DECODE
POST
TO ST
ON
ST B
(C) CUE
CUE
To OUTPUT PATCH
To OUTPUT PATCH
FOLLOW
PAN
POST
TO ST
CUE
LCR
CSR ON
LCR
CSR ON
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
S ereo A,B,Ma rix1-8 Pos EQ
LINK ON/OFF
Keyin
Self Pre EQ/Self Pos EQ/Mix21-24 OUT/
Mix1-12 Pos EQ/Mix13-24 Pos EQ
LINK ON/OFF
Keyin
Self Pre EQ/
Self Pos EQ/
Mix21-24 OUT/
S ereo A,B,Ma rix1-8 Pos EQ
LINK ON/OFF
FOLLOW
PAN
32
BI DIRECTION
From
CASCADE IN
SELECT
ON
BI DIRECTION
ON
BI DIRECTION
ON
From
CASCADE IN
SELECT
PreFader/
Pos Fader/
Pos ON
LCR
CSR ON
ATT
METER
METER
HPF
OUT ATT.
PreATT
METER
Inser In
METER
4BAND
EQ
IN OUT
METERMETER
GATE COMP
Keyin Fil er
OUT
IN
METER
GR
METER
METER
METER
METER
GR
METER
OUT
METER
KEYIN
KEYIN
INSERT
METER
Pos FaderPos ON
4BAND
EQ
IN OUT
METERMETER
PreATT
METER
METER
Pos Fader
Pos ON
TALKBACK
SELECT
SELECT SPECTRUM
ANALYZER
12
8BAND
EQ
IN OUT
METERMETER
METER
KEYIN
IN
METER
METER
GR
METER
OUT
COMP
8BAND
EQ
IN OUT
METERMETER
METER
KEYIN
IN
METER
METER
GR
METER
OUT
COMP
4BAND
EQ
IN OUT
METERMETER
KEYIN
IN
METER
METER
GR
METER
OUT
COMP
METER
Pos Fader Pos ON
Pos Delay
Pos Fader Pos ON Pos Delay
METER
Pos Fader Pos ONPos Delay
CASCADE
OUT
ON/OFF
Lch
METER
Rch
METER
1
INPUT
+48V
TO TALKBACK SELECT
SIGNAL
PEAK
GAIN
OFF
ON
AD
+48V MASTER
ON
OFF
ON
INPUT 1-48
FX7 OUT L/R
FX8 OUT L/R
FX1 OUT L/R
FX4 OUT L/R
FX6 OUT L/R
FX2 OUT L/R
FX3 OUT L/R
FX5 OUT L/R
INPUT PATCH
SLOT1
SLOT2 16
16
FX7 IN L/R
FX8 IN L/R
FX1 IN L/R
FX4 IN L/R
FX6 IN L/R
FX2 IN L/R
FX3 IN L/R
FX5 IN L/R EFFECT
1-8
EFFECT
MIX 1~24
INSERT OUT
24
92
SELECT
METER
SLOT1 1-16
SLOT2 1-16
To BUS SUMMING
CASCADE IN D-SUB 32
32
CASCADE IN SELECT
SIGNAL
PEAK
GAIN
OFF
ON
AD
ON
SIGNAL
PEAK
GAIN
OFF
ON
AD
ON
ST IN L
ST IN R
ST IN 1-4 L
ST IN 1-4 R
[INPUT]
(1-48) x48
[ST IN]
(1-4) x4
PreFader
PreFader
PreFader
PreFader
LEVEL/
DCA7-8
PreFader
To METER
To METER
PreATT
PreGa e
PreATT
To METER
To METER
PreEQ
To METER
PreEQ
To METER
PreEQ
INSERT OUT
PreEQ/
Pos EQ/
PreFader/
Pos On
INSERT OUT
PreEQ/
Pos EQ/
PreFader/
Pos On
INSERT OUT
PreEQ/
Pos EQ/
PreFader/
Pos On
ON
ON
PreGa e
TB OUT
OSC OUT
To OUTPUT PATCH
PreEQ
PreHPF
PreFader
Pos ON
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
Burs Noise HPF LPF
INSERT
PFL/
Pos ON
PFL/
Pos ON
PreON/
Pos ON
PFL/
Pos ON
CASCADE
IN
ON/OFF
FX RTN 1-4
Pair configura ion of Mono channel
Ex ernal CUE
SELECT
SLOT1-2(1-16)
+48V
TOTALKBACK PreATT
2
8
24
STEREO B
MATRIX1-8
MIX1-24
DIRECT OUT 1-STIN-4R
INSERT OUT
2
STEREO A
1
OSC OUT(Lch) 1
TB OUT
56
92
2
CUE L,R
OMNIOUT24 DA
2
8
24
STEREO B
MATRIX1-8
MIX1-24
INSERT OUT
2
STEREO A
1
OSC OUT(Lch) 1
TB OUT
92
2
CUE L,R
CASCADE IN RJ-45
32
To Ex ernal
CUE SELECT
SLOT3 1-16
SLOT4 1-16
16
16
16
16
16
DITHER
DITHER
SLOT3 16
SLOT4 16
32
CASCADE OUT RJ-45
16
From CASCADE OUT
32
32
From CASCADE IN SELECT
STEREO A-L
STEREO A-R
STEREO B-L
STEREO B-R
MIX 1
MIX 24
MATRIX 1
MATRIX 8
CUE
[OMNI OUT](1-24)
DIM
DIGITAL
CUE
LEVEL
To OUTPUT PATCH
ON
L
R
METER
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