Yamaha PM4000 - page 71

Figure 4-12. Cables For Use With Unbalanced Sources

NOTE regarding Figure 4-12. For microphone cables,

conect the shield to pin 1 at both ends of the XLR cable.

For line-level signal cables, cut the shield as illustrated.

Page 4-11

Contents

Main Page IMPORTANT NOTICE FOR THE UNITED KINGDOM Professional audio mixing console Typ : PM4000 82/499/EWG YAMAHA Europa GmbH How to Use This Manual Terminology and Typographic Conventions Table of Contents Page Sect. Title Section 1. Introduction Section 2. Brief Operating Instructions Section 3. Specifications Section 4. Installation Notes Page Sect. Title Page Sect. Title Section 7. Operating Notes and Hints Page Sect. Title Section 8. Applications Section 9. Maintenance Page Section 1. Introduction Page Page Page Section 2. Brief Operating Instructions 2.1 PM4000 Front Panel Features 2.1.1 The Standard Monaural Input Module Page Page Page Page Page Page Page Page Page Page Page Page Page Page Here are some additional VCA details Page Page Page Page Page Page [85] Page 2.1.7 The Meter Bridge Page 2.2 PM4000 Rear Panel Features Page Page Page Page Page Page 2.4 The PW4000 Power Supply Page Page Section 3. Specifications PM4000 Mixing Console General Specifications Page 3-1 PW4000 Power Supply Specifications Page 3-2 INPUT CHARACTERlSTlCS OUTPUT CHARACTERISTICS Page 3-3 Page Page Page Page Page Page Page Page Page Page Section 4. Installation Notes 4.1 Planning An Installation 4.2.1 4.2 Power Mains Verify The Correct Mains Voltage Page Page Page 4.3 Theory of Grouding 4.3.2 Ground Loops 4.3.3 Basic Grounding Techniques Equipment Rack 4.3.4 Balanced Lines and Ground Lift Switches Mix Console 4.4 Audio Connectors and Cables 4.4.1Types of Cable To Use 4.4.3 Balanced versus Unbalanced Wiring 4.4.2 Cable Layout Page Page 4.4.4 The Pros And Cons of Input Transformers 4.4.5 Noise And Losses In Low and High Impedance Lines 4.5 Direct Boxes 4.5.1 Passive Guitar Direct Box Notes Regarding Figure 4-15: 4.5.2 Active Guitar Direct Box 4.6 Configuring Equipment Racks Page Page SECTION 5. GAIN STRUCTURE AND LEVELS 5.1 STANDARD OPERATING LEVELS 5.2 Dynamic Range and Headroom 5.2.1 What Is Dynamic Range? 5.2.2 The Relationship Between Sound Levels and Signal Levels 5.2.3 A Discussion Of Headroom Page 5.2.5A General Approach To Setting Levels In a Sound System 5.2.6How To Select a Headroom Value and Adjust Levels Accordingly Page 5.3 Gain Overlap And Headroom Page Section 6. Optional Functions 6.1 Removing and Installing A Module Page 6.3 Mono Input Aux Sends: Pre Fader & EQ or Pre Fader/post EQ 6.4 Mono Input Cue/Solo Switch: Pre- Fader or Follow MT PRE Switch 6.5 Stereo Input Cue/Solo Switch: Pre- Fader or Follow MT PRE Switch 6.6 Mono & Stereo Input Channel MT PRE Switch: Pre- or Post-ON Switch Page Page Page Page 6.11 Stereo Input Channel Feed to Monitor Module ST IN 3 or ST IN 4 Page 6.13 Stereo Input Module: Output Enable Jumpers to Group, Stereo and Aux Busses 6.14 Master Module: Group-to-Matrix Assigned Pre or Post Group Master Fader 6.15 Stereo Master to Matrix ST Bus: Pre or Post ST Master Fader 6.16 Installation of Optional Input Transformers 6.15 Hints on Circuitry For Remote Control of the VCA Masters and Mute Groups Table 6-1. Parts List for Making Remote VCA Control Circuit Figure 6-18. VCA Control Voltage versus Fader Position Page 6-19 Page Section 7. Operating Notes and Hints 7.1 Console Gain Structure 7.1.1 What Is The Proper Gain Structure? 7.1.2 What Affects Gain Structure? 7.1.4 Group Master Settings 7.1.6 7.1.5 Establishing The Correct Aux Send Master Settings Mix Matrix Settings 7.1.7 Aux Return Settings 7.1.8 How VCA Control Affects Gain Structure 7.1.9 7.2 Further Hints & Conceptual Notes What Is a VCA, and Why Is It Used? 7.2.2 The Distinction Between The Group Busses and The VCA Master Groups Page Page 7.2.3 Using The Channel Insert In Jack as a Line Input 7.2.4 Understanding and Using The Mix Matrix Page 7.2.4.1 The Mix Matrix In General Sound Reinforcement 7.2.4.2 Using The Matrix Sub Inputs For Effects 7.2.4.3 Other Uses For The Matrix Sub Inputs 7.2.4.4 Use of the Matrix to Pre-Mix Scenes Page 7.2.6 Stereo Panning To the Eight Group Mixing Busses Page Section 8. Applications 8.1 General 8.1.1 Theatre 8.1.2 Production 8.1.3 Post Production 8.1.4 Video 8.1.5 Sound Reinforcement 8.2 Setup Concepts 8.2.1 Deriving A Stereo Mix From Groups 1-8. 8.2.2 The Mix Matrix Allows the 8 Groups Plus the Stereo Bus to Function as 10 Subgroups. Page Page Page Page Section 9. Maintenance 9.1 Cleaning The Console 9.1.3 9.1.2 9.1.1 9.2 Meter Lamp Replacement 9.3 Where To Check If There Is No Output 9.4 What To Do In Case of Trouble