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Фрагмент инструкции
. .....................................................4 FOLDBACK/PHONE MODULE.......................,.. . 5 EFFECTS MODULE...........................'. . 5 TALKBACK MODULE..................................................6 MIX MATRIX......................... ......7 REAR PANEL..............................................8 POWER SUPPLY............................. . 9 METER PANEL..................................................9 SPECIFICATIONS..............................10 GENERAL................................10 INPUT CHARACTERISTICS..........................12 OUTPUT CHARACTERISTICS..........................12 INSTALLATION . . . ...............................13 POWER MAINS ..............................13 THEORY OF GROUNDING........................... . . 13 INTERCONNECTIONS............................14 PADS, TRANSFORMERS & DIRECT BOXES.....................15 DYNAMIC RANGE .............................19 OPERATING LEVELS............................20 GAIN OVERLAP & HEADROOM.........................21 CALCULATING & USING GAIN OVERLAP.....................21 INTERFACE WITH CREATIVE AUDIO EQUIPMENT......................22 ADDING AN ADDITIONAL 10dB OF GAIN TO THE PM-2000 OUTPUT STAGES........22 APPENDIX.................................23 MAINTENANCE ..............................23 TRAVEL CASE...............................25 APPLICATIONS ..............................26 CONCERT SOUND REINFORCEMENT...........................26 STAGE MONITORING............................30 TELEVISION SHOW PRODUCTION........................32 TELEVISION REMOTE PRODUCTION.......................34 THEATRICAL PRODUCTION......................... . 36 RECORDING & MIXDOWN...........................38 BLOCK DIAGRAM..........1....................40 INTRODUCTION PM-2000 MIXING CONSOLE In 1974 Yamaha set new standards of excellence for sound reinforcement with the introduction of our first PM-1000 mixing console. Since then, PM-lOOO’s have been used by virtually every major sound company, and praised by top artists around the world. PM-1000 consoles enjoy a well-earned reputation for reliably delivering the sound and mixing flexibility necessary in today’s creative performances. We were pleased by the success of our PM-1000, but viewed it only as a beginning. The need for an even more sophisticated Yamaha console became apparent, so for the last 5 years we surveyed the professional sound community in depth, learning which features are considered most important. At the same time, new circuits were devised, circuits capable of even better performance than the already-respectable PM-1000. Every detail, including panel layout and cabinetry, received careful scrutiny. The goal was nothing less than a total mixing system, one suitable for concert sound reinforcement, theatrical or broadcast production, and recording — it would become known as the PM-2000 mixing console. We subjected the PM-2000 to an extended program of rigorous laboratory and field testing, calling upon top experts in every facet of the U.S. audio industry to evaluate prototypes and work out improved designs. When prototype consoles satisfied the most stringent criteria on the lab bench and in studio evaluations, we sent them out on numerous national and international tours for “hands-on” evaluation. Here PM-2000’s received a two year shake-down, the most valid of field tests. Yamaha’s stress on “real world” research and development was an expensive but worthwhile investment that had a major impact on the new console’s character. It was a very special kind of R&D which relied upon close communication with the touring soundmen and engineers. We took the opportunity to discover any latent difficulties (“if only they’d have ...”) in time to avoid them. You showed us what was needed. We supplied the intense research and the in-depth resources to make it happen — the Yamaha PM-2000! When you sit down to mix on a PM-2000 it commands your respect. Yet for all its complexity and sophistication, you’ll find the console’s layout uncluttered and its functions self-explanatory; mixing with a PM-2000 comes naturally. The PM-2000 somehow imparts immediate confidence to any operator, and comfortable familiarity to anyone who already knows the PM-1000. Controls are well marked, sensibly organized, and perfectly damped to respond to your most subtle touch. Before long, you become aware of a very special feeling. It is a feeling of elegance, of authority, of control. As your eyes scan this impressive mixing console, you see banks of large VU meters glowing clearly above anti-glare black panels that are punctuated by color-coded knobs, illuminated channel-ON switches, and the occasional red flash of an input’s LED peak indicator. Every so often an LED lights up in an otherwise tame output VU meter, warning that the instantaneous level is approaching a clip, but with +24dBm output capability the console is seldom driven to its maximum. You wonder ...
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