Yamaha PM4000-48 Mixing Console

The PM4000 is a professional audio mixing console with the kind of flexibility, performance and reliability for which Yamaha has earned a worldwide reputation. It picks up where the famous PM3000 left off, with still more functions, a higher level of performance, and a greater degree of versatility than ever before. The console now comes with both mono and stereo input modules, and you can determine the complement of each type of module in your unit at the time you order it, or you can later swap modules in the field (between shows if need be).
The console is available with 24, 32, 40 or 48 input positions (24 channel versions are available in the U.S.A. only on special order). However, if fully config- ured with stereo input modules, the actual number of input sources is substantially higher (the mix of mono and stereo modules can add up to no more than 64 in- put channels per mainframe, as limited by power supply capacity). There are eight VCA (Voltage Con- trolled Amplifier) Master Faders which can be assigned to control any combination of input channels (see Section 7 for a discussion of VCAs). In addition, there are eight group mixing busses, as well as a stereo mixing bus, to which any of the input channels can be- assigned. There are also eight monaural auxiliary mixing busses and two pair of stereo auxiliary mixing busses to which each input channel may be assigned by means of sealed PRE/OFF/POST switches and Send Level controls. The stereo aux busses may be switched to dual mono busses, for a total of twelve busses that
can be used to augment the eight groups plus the stereo bus for a total of 22 audio mixing busses, or they may be used for a combination of foldback send (stage monitor), effects send and remote mixes.
Input channel signals may be assigned directly to the stereo bus, or assignment can be made via the Group Masters. Thus, the console can function in a sub- grouped mode with a stereo “grand master” fader, or it can function with independent stereo and multi-channel output mixes.
The PM4000 inputs are differentially balanced, and are equipped with a 30 dB attenuation PAD plus a continuously variable 50 dB range GAIN trim control so that literally any mic or line level signal can be accom- modated with channel faders set at nominal level. Optional input transformers may be installed internally on a channel-by-channel basis when extra grounding isolation is required. While the console has ample headroom throughout, it is always possible to incor-
rectly set controls. For this reason, the PM4000 is equipped with level detection at several stages. Input LED meters and “PEAK” LEDs are provided. The latter not only monitor the input preamp level, they check for overboost in the EQ section. too. Metering can be front- panel switched to pre or post fader (actually, pre/post VCA). Finally, if the mixed levels on the group, auxil- iary, stereo, matrix or cue busses adds up to be too high, a “PEAK” LED in the output meters will flash on to warn of the impending danger of clipping.
Naturally, the PM4000 is equipped with a Mix Matrix, the feature Yamaha pioneered in professional audio consoles. The PM4000 Mix Matrix is an 11×8 configuration. That is, there are 11 possible sources that can be mixed together into one output. Those 11 sources can be mixed together eight different ways on eight different modules. Each matrix channel accepts a direct sub input from a rear panel connector, plus signals from the stereo bus (L&R) and the eight subgroups (pre or post master fader, depending on internal preset switches). These 11 sources all go through a MATRIX MASTER control and an on/off switch to a discrete rear panel output. The matrix can save a tremendous amount of time and effort when you want to set up
stage monitor mixes from the subgroups, when you want to create different speaker mixes for different zones of the house, to feed local and remote programs simultaneously, to make mono and stereo mixes from the same subgroups, and so on. In fact, if the matrix is set to pick up the subgroups ahead of the Group Master Faders, then the subgroups can be mixed onto the stereo bus with one mix, and completely independent mono or stereo mixes can be achieved from the same
subgroups via the matrix.