PM1D V2

The Yamaha PM-series has historically been the foundation for an impressive range of important innovations: the matrix introduced on the PM1000, the grounding technology of the PM2000, VCAs in the PM3000, and the PM4000's stereo modules. Beyond simply improving basic features and keeping up with trends, for more than 30 years Yamaha has listened carefully to feedback from the field, and has been willing to break new ground to deliver the needed performance and features. With the PM1D's modular digital approach it becomes possible to locate system components in the places they best serve their intended purpose and deliver optimum performance. And by building all necessary processing functions right into the system Yamaha engineers have been able to deliver stunning sound quality, absolute reliability, and unmatched convenience.

The PM1D offers plenty of capacity and mixing power for today's diversified, complex live sound requirements with 96 mono inputs, 8 stereo inputs, 48 mix buses, stereo A and B buses, and 24 matrix channels. A basic system is comprised of the CS1D control surface, the rack-mounted DSP1D (DSP1D-EX) mix engine that handles the actual audio processing, AI8 analog input boxes equipped with LMY2-MLAB, LMY4-MLF, and/or LMY4-AD input cards, AO8 analog output boxes equipped with LMY4-DA output cards, a digital I/O box with appropriate MY-series digital I/O cards, a PW1D power supply for the CS1D control surface, and the appropriate connection cables. System components can be mixed and matched to optimally support your application. Here are a few basic system examples: PM1D 48-channel version PM1D 96-channel version PM1D 96-channel version with dual mixing engines I/O boxes with a total of 320 inputs and 192 outputs can be distributed as required, with appropriate input switching, input splitting, and broadcast feed facilities.

There are three main technological breakthroughs behind the remarkable PM1D sound ... a sound that regularly elicits comments such as "the sound is somehow closer" and "a veil that I didn't even notice has been lifted from the sound". First, by using a modular system with digital signal routing, analog audio signal runs have been reduced to a minimum. This means dramatically reduced loss that translates into signal fidelity that is not achievable with conventional systems. Second, floating AD and DA control (except for the LMY4-MLF) delivers the equivalent of 28-bit and 27-bit linear processing, respectively, for dynamic range in excess of 120 dB. And the third is a new head amplifier design, discussed below.

The third factor contributing to the PM1D's extraordinary sound is actually in the analog domain. In digital consoles the problems of achieving high signal-to-noise ratio and low crosstalk are essentially nonexistent, but that makes basic sound quality so much more important. For that reason the head amplifiers - a major contributing factor to sound quality - must be given special attention. The PM1D inherits the basically pure reproduction quality of the PM4000 head amplifiers, but have been specially refined and tuned for optimum performance, especially in the system's microphone/line cards. The engineers who have been responsible for the PM sound from the very beginning spent a year in basic technology development and then another year in circuit development to create a new microphone/line card based on the circuitry of the unparalleled PM5000 analog console. The result is that the weak microphone signal is brought up to a level that is usable by the mixer with its full sonic richness and expressive nuance intact. Current users of the original black-panel LMY2-ML card should take the time to try the new blue-panel LMY2-MLAB card, especially with kick and vocals.

Yamaha PM consoles are renowned for their durability. They have been dropped down flights of stairs and then gone on to perform flawlessly...albeit with a few additional scratches. That's just one of the reasons that discerning professionals have continued to rely on Yamaha consoles for critical live sound applications for more than 30 years. Yamaha advantages abound in our digital live sound consoles as well, including a mature development platform, stable operating systems, audio processing LSIs developed in-house, and a history of leading the digital revolution. In fact, the unmatched reliability of Yamaha PM-series digital mixers is one of our proudest achievements...and a feature that is highly valued by professionals working in applications in which nothing less than solid, totally stable performance is acceptable.

The Yamaha digital mixer interface is basically comprised of the input/output modules with a select set of directly accessible functions, and the Selected Channel section that allows access to all channel parameters. The approach is consistent throughout Yamaha's digital mixer lineup, so anyone who has used an 02R, for example, will find the PM1D to be a familiar working environment. Input channels include gain, phase, HPF, 4-band full-parametric EQ, gate, compression, delay, assignment to 12 DCAs (the equivalent of VCAs in an analog console), and more. All of this functionality on an analog console would require channel strips that are at least twice as long as the current norm. The Selected Channel section can be used to access all channel parameters via an intuitive, efficient, centralized interface. Output channels also offer an impressive complement of functions, including 6-band fully-parametric EQ, compression, delay, assignment to 4 DCAs, and more. The Selected Channel section also allows access to all output channel parameters in the same way as it does for the input channels. There's also versatile channel pairing capability, and the ability to link EQ, compression, and other parameters between specified channels. Insert points, direct outs, and metering points can all be specified from the console interface, rather than having to use internal DIP switches as on conventional analog consoles.

In addition to the powerful mix and processing functions provided on the input and output channels, the PM1D features 8 multi-effect processors and 24 mono graphic equalizers built in. Flexible digital patching capability allows the effect processors and GEQs to be inserted or used in send/return loops wherever needed. By eliminating the need for outboard processors, the need for external wiring is minimized, along with problems of audio signal degradation and increased latency. The graphic equalizers can be controlled directly from the console's DCA faders, or from the supplied PM1D Manager application for Windows computers. You can even use the PM1D manager in conjunction with Windows Remote Desktop to make remote EQ adjustments from the stage area using your laptop.

The relatively basic scene memory functionality of earlier digital mixers has been significantly expanded for superior convenience and reliability in live sound applications. There's a scene preview mode, an undo function that recalls the state of the console prior to the last scene recall, recall safe that can be focused on specified channels and parameters, selective recall, tracking recall for level tracking, global paste that allows parameter changes made to one channel to be instantly pasted to multiple channels … and more. Since it's release, a number of significant refinements have been made to the PM1D scene function based on feedback from the field. Scene memory makes it simple to recall entire console setups for a performance that may have originally occurred weeks or months ago, it can be used to recall rehearsal settings, and on tour it makes it convenient to use the settings from a previous venue as a starting point for each new venue. Parameters can be progressively refined to bring you closer to the perfect mix.

The PM1D Manager software for Windows computers can be used to access and control all console parameters. Patch setups and channel names, for example, can be programmed offline and downloaded to the console as required, or the computer can be connected to the system for real-time parameter display and operational backup.

Available as add-ons for the DM-series and 0-series consoles, and the subject of accolades from professional sound engineers, selected effects from Yamaha's ADD-ON EFFECTS series are now included as standard features: the very latest REV-X reverb programs and VCM (Virtual Circuitry Modeling) programs, including the COMP260(S)*, COMP276(S)*, EQ601, and OPEN DECK programs. The REV-X reverb programs, already included and acclaimed in the PM5D and M7CL, offer unprecedented reverb density for reverb quality that is a step beyond previous Yamaha reverb processors. And the VCM effects, used in conjunction with the onboard effects included up to this point, will make external analog processing gear totally unnecessary. With the inclusion of these effects the PM1D Digital mixing system goes beyond "unprecedented digital clarity", giving you the capability to create analog warmth whenever and wherever necessary. The PM1D has truly become an all-in-one live sound solution. * The COMP260S and COMP276S are stereo versions of the COMP260 and COMP276.