digital audio mixing system

digital audio mixing system

YAMAHA web site

http://www.yamaha.co.jp/english http://www.yamaha.co.jp/product/proaudio/homeenglish

LPA435

Printed in Japan

DIGITAL AUDIO MIXING SYSTEM

Unprecedented Digital Live Sound

Mixing Performance —

From a Company that Knows Digital Technology and

Live Sound Inside and Out

Yamaha PM-series sound reinforcement consoles have been the first choice of professional live sound engineers for years.

The reason? Simply that Yamaha listens. Of course we listen to the sound, but more importantly we really listen to what the pros have to say … what they need and what they want. In a sense, our live sound consoles are designed by the people who use them. And so they should be. The same goes for Yamaha digital mixing consoles like the O2R — a recording industry standard. With more than 12 years experience in digital sound (and, in fact, more than 100,000 Yamaha digital mixers already sold worldwide), we definitely have the resources to create a truly great digital live sound mixing system. So we did.

The Yamaha PM1D Digital Mixing System takes sound reinforcement to unprecedented levels of performance and flexibility.

It combines Yamaha digital mixing and signal processing technology with the type of features and flexibility that have made the

PM-series consoles leaders in the field. The PM1D offers outstanding digital sound quality and controllability in a system that is remarkably compact, easy to set up, and cost-effective.

The Yamaha PM1D defines the next generation of sound reinforcement.

D I G I T A L A U D I O M I X I N G S Y S T E M

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Simply the Most Powerful, Most Flexible, Most Cost-effective

Digital Live Sound Mixing System in Its Class

Intuitive Operation with Extraordinary

Programmability, Repeatability, and Total Recall

Engineers who are comfortable with traditional analog consoles often balk at the thought of going digital because many digital mixers are, frankly, not that easy to use. Not so with the PM1D. The entire system offers intuitive control as well as extended flexibility in terms of programmability and repeatability. In addition to a sophisticated analog-style control surface featuring precision encoders, motorized faders and comprehensive visual indicators, all parameters can be accessed and edited via a familiar computer interface, with graphic readout for easy, efficient operation. In fact, the entire setup can be programmed off-line on a standard desktop or laptop computer and then loaded into the PM1D via standard PCMCIA memory cards when needed.

Instantaneous total recall of as many as 990 scenes makes it a snap to keep up with even the most complex programs, and undo capability makes it easy to avoid potential mistakes.

All-digital Processing

Yamaha is no newcomer to digital sound. Yamaha digital mixing consoles have revolutionized the recording and production industries, and there is no question that the sound quality and processing power they provide are first class. The same type of technology has been applied in the

PM1D — with many advancements and improvements that take overall audio performance to new levels. All mixing and processing is performed entirely in the digital domain, with a choice of 44.1 kHz or 48 kHz sampling. Top-quality 28-bit AD and 27-bit DA conversion ensure that you get from analog to digital, and back to analog, with extraordinary sonic resolution for totally clean, natural sound. The same goes for signal processing whether it’s EQ, compression, or effects.

The PM1D offers vast processing power and unmatched performance in all areas so you won’t need any external processing gear. Of course, if there’s a particular compressor, equalizer or other device that you simply have to use to achieve your sound, the PM1D lets you patch it in just about anywhere in the system. In fact, all signal routing and patching is controlled digitally via a comprehensive centralized display that makes system setup a snap.

Compact, Streamlined Configuration for Easy Transport & Positioning

The entire PM1D system — the console itself and one or two equipment racks (depending on your I/O requirements) — is considerably smaller, lighter, and much more easy to handle than comparable analog systems. And because of the small size of the console, you have more freedom in selecting and setting up your mixing location. The PM1D is also a natural choice for mobile applications.

Fast, Easy Setup with Minimum Cabling

In stark contrast to the snakes and bundles of cables required for analog sound reinforcement, all PM1D consoleto-stage audio and control signals are carried via one 68-pin cable per 32 channels, and two Ethernet cables. So once the console and rack(s) are in position, it shouldn’t take more than a few minutes to have the whole rig connected and ready to run. What’s more, the cable runs can be as long as 200 meters, so you have plenty of leeway in terms of remote location and venue size.

Easily Configurable For Input Channels

The “heart” of the PM1D system is the rack-mounted DSP1D mix and processing engine. Virtually all digital audio signal processing occurs within the DSP1D. Input and output is handled by appropriate modules which can be mixed and matched to create the system that ideally meets your mixing requirements. A standard 48-channel system, for example, requires four AI8 input frames, three fitted with dual-input mic/line cards for the 48 mono input channels, and one with mic/line cards for the four stereo channels. For a 96-channel setup simply double the number of input cards and add an optional Input Processing Board to the DSP1D processing engine. A single CS1D Control Surface can control two DSP1D processing engines for larger configurations (supported by version up).

Redundancy for Reliability

You never know what’s going to happen in a live situation, so redundancy is essential. Since all console settings are duplicated within the rack-mounted processing engine, operation will continue uninterrupted even if the control surface itself is accidentally shut down.

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Hardware Components

A basic PM1D system consists of a CS1D Control Surface (with external PW1D Power Supply Unit), and a single equipment rack housing the 9-space DSP1D Processing Engine and appropriate input/output frames loaded with the input and output modules your system requires.

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The Rack

Although visually nothing more than a “black box” with connectors, the rack is where all the real work takes place.

And it’s customizable, so you have exactly the I/O configuration you need.

AI8-AD8

Line Input AD Unit

The AI8-AD8 is an AI8 analog-input rack-mount unit fitted with

8 LMY4-AD Line-input AD modules. LMY4-AD Line Input AD modules feature 4 line inputs and the corresponding AD conversion circuitry.

A08-DA8

Line Output DA Unit

An AO8 analog-output rack-mount unit with 8 LMY4-DA Line

Output DA modules. LMY4-DA Line Output DA modules feature

4 line outputs and the corresponding DA conversion circuitry.

DIO8

Digital IO Unit

Rack-mount unit capable of accomodating up to 8 mini-YGDAI

(Yamaha General Digital Audio Interface) I/O cards to conveniently interface with AES/EBU, ADAT, and TASCAM format digital systems, as well as provide additional analog inputs and outputs.

DSP1D

Mix & Processing Engine

The main “engine” controlling all console and I/O functions. The base-model DSP1D can handle up to 48 channels, expandable to

96 channels with the optional Input Processing Board (IDB1D).

A single DSP1D also provides stereo outputs, 48 mix bus outputs,

24 matrix outputs, and 8 effect inserts.

AI8-ML8

Mic/Line Head

Amplifier Unit

This is an AI8 analog-input rack-mount unit fitted with 8 LMY2-

ML Mic/Line Input modules. Each LMY2-ML Mic/Line Head

Amplifier card features 4 balanced XLR-type input connectors

(dual A/B switchable mic/line inputs) and the corresponding AD conversion circuitry. Microphone gain trim and phantom power are supported, and can be controlled from the console.

AI8-ML4AD4

Mic/Line Head

Amplifier & Line Input AD Unit

An AI8 analog-input rack-mount unit fitted with 4 LMY2-ML

Mic/Line Input Modules and 4 LMY4-AD Line Input AD modules.

AI8-ML8 (LMY2-ML x 8)

LMY2-ML

Two A/B-switchable mic/line inputs with 28 bit AD converters and

4 balanced XLR-type connectors.

AI8-AD8 (LMY4-AD x 8)

LMY4-AD

Four line inputs with 28 bit

AD converters and balanced

XLR-type connectors.

AI8-ML4AD4 (LMY2-ML x 4, LMY4-AD x 4)

LMY2-ML LMY4-AD

AO8-DA8 (LMY4-DA x 8)

LMY4-DA

Four line outputs featuring

27 bit DA converters and balanced XLR-type connectors

Mini YGDAI Cards

Mini YGDAI (Yamaha General Digital Audio Interface) digital I/O cards are available in six configurations.

See the specifications page for details.

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The Console

The CS1D Control Surface can only be described as

“comprehensive and comfortable,” with precision encoders, full-length motorized faders, and high-visibility indicators.

In addition to the analog-console type controls, the CS1D features a large 800x600 LCD display and familiar computer interface which provides access to all parameters for control and editing.

The entire setup can be programmed off-line on a standard desktop or laptop computer and then loaded into the console when needed.

INPUT Controls

The CS1D has 4 fully assignable input control sections, each accessing

12 channels for a total of 48 channels up front — 96 using the console’s flip switches.

MIX SEND Section

The PM1D has 48 mix buses which can function as submasters or auxiliary sends.

The MIX SEND controls select the mix bus (1 … 24 or 1…48) to which the send level from the currently selected input channel will be adjusted. The LOCAL switch determines whether the mix bus selection applies only to the currently selected input channel block or all input channel blocks.

INPUT MIX Encoder

Sets the send level from the corresponding input channel to the currently selected mix bus.

INPUT PAN Encoder

Pans the channel signal from left to right on the stereo mix bus when the TO ST switch is engaged. Can also be used for odd/even panning to variable-output mix bus pairs with some setups.

TO ST Switch

Assigns the signal from the corresponding input channel to the stereo mix bus.

INPUT A/B LED

Remotely switches between the “A” and “B” inputs on input cards (LMY2-ML

Mic/Line Head Amplifier modules feature switchable “A” and “B” mic/line inputs).

GAIN Encoder

Adjusts the input sensitivity head amplifier module patched to that channel.

COMP LEDs

Provide an in-channel indication of compressor status, showing whether the channel’s signal level is above or below the compressor threshold.

GATE LEDs

Similar to the COMP LEDs, the GATE LEDs whether the channel’s signal level is above or below the gate threshold.

INPUT SEL Switch

Sets the corresponding channel as the “currently selected channel” to be affected by all of the consoles SELECTED INPUT CHANNEL controls. The SEL switches can also be used to assign channels as stereo pairs.

NAME Indicator

Displays the short name assigned to that channel. Channel names are entered via the console’s LCD display, data entry controls and external keyboard.

ON Switch

Turns the corresponding input channel on or off.

Meter LEDs

A 6-point LED meter displays the channel input level.

Input Fader

A precision motorized 100-millimeter channel fader with a range from -

∞ to +10 dB.

INPUT DCA Switch & LED

The DCA switch can be used to assign the corresponding input channel to any of

12 DCA faders. The LEDs indicate the DCA faders to which the channel is assigned.

RCL and MUTE SAFE LEDs

The RCL SAFE LED lights when the channel is set to the RECALL SAFE mode, so that the channel is not affected by scene recall operations. The MUTE SAFE mode prevents the channel from being affected by mute group operations.

CUE Switch

Sends the channel signal to the cue bus for monitoring via the CUE OUT, MONITOR

OUT A/B, or PHONES outputs.

SELECTED INPUT CHANNEL Controls

All parameters for the selected mono or stereo input channel are accessible via these analog-style controls.

+48V/Phase/INSERT Section

Includes switches for 48-volt phantom power, input phase reversal, and channel insert on/off.

INPUT Section

Switches between the “A” and “B” inputs on the mic/line head amplifier module patched to the selected channel.

DELAY Section

Turns the channel delay on or off, and sets the delay time from 0 to 250 milliseconds for the selected input channel. This feature is particularly useful for time alignment between distant microphones.

MIX SEND Section

Independent on/off, send level, and pre-post fader switches for each of the mix buses. When an odd-even numbered pair of mix bus sends is assigned as a stereo pair, the odd-numbered LEVEL control functions as a

PAN control while the even-numbered LEVEL control sets the send level for the pair. The LAYER switches at the bottom of the MIX SEND section determine whether the mix send controls function for mix busses 1 through

24 or 25 through 48.

COMPRESSOR Section

A full-featured variable-knee compressor with adjustable input high-pass or low-pass filter and key-in capability for precision dynamics control.

NOISE GATE Section

Extremely versatile keyable noise gate provides effective noise suppression and other gate functions. HPF and

LPF filters can be applied to the gate’s key-in signal.

EQUALIZER Section

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 with switchable slopes. The equalizer’s HIGH band alternatively provides

LPF type filtering.

STEREO Section

The STEREO section allows the currently selected channel signal to be routed to the stereo bus with pan control. This section also provides on/off switching of odd/even panning when the currently selected channel is assigned to appropriate mix buses.

GAIN Section

When an AD card with variable head amp gain is patched to the currently selected channel, the GAIN control adjusts the head amp sensitivity up to a maximum gain of 78 dB.

ATTENUATOR Section

Provides attenuation from 0 to –96 dB in 1-dB increments. Attenuation is applied between the output of the channel’s AD converter and the HPF input.

FADER Section

The FADER section includes a full length motorized fader and on/off switch for the currently selected channel, EQ and clip indicators which light if clipping occurs at any of 6 critical points in the signal path, a

12-point LED level meter, and CUE switch.

DCA Section

The DCA switches are used to assign the currently selected input channel to one or more of the DCA faders.

These switches are particularly useful when a single input channel is to be assigned to multiple DCA faders.

SAFE Section

Engages or disengages RECALL SAFE and/or MUTE SAFE for the currently selected input channel.

CHANNEL SELECT Section

This section can be used to select the input channel to which the SELECTED INPUT CHANNEL controls will apply. A CHANNEL COPY function is included which makes it possible to copy all parameters from one channel to any other channel.

GLOBAL CONTROL Section

The GLOBAL CONTROL section includes the MODULE

FLIP and FADER FLIP switches (described below), and a pair of headphone outputs for convenient monitoring of the console's MONITOR A and MONITOR B signals.

MODULE FLIP Switch

The MODULE FLIP switch vertically flips the input channel modules, bringing hard-to-reach controls to the front of the console for easy access.

FADER FLIP Switch

The FADER FLIP switches flip the functions of the input channel MIX encoders and faders so that the MIX encoders control channel input level while the channel faders control the mix bus send level.

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MIX, MATRIX, & DCA Controls

The center section of the console houses the MIX OUTPUT,

MATRIX OUTPUT and DCA FADER sections.

MIX OUTPUT Block

The MIX OUTPUT block provides output level encoders for mix buses 1 through 48, as well as ON switches, TO STEREO switches, DCA assign switches, CUE switches, and SEL switches which assign the corresponding channel to the SELECTED

OUTPUT CHANNEL controls. 24 MIX OUTPUT modules are provided, with MIX LAYER switches which determine whether mix busses 1 through 24 or 25 through 48 are controlled. Odd and evennumbered MIX OUTPUT channels can be assigned to function as pairs to handle stereo signals.

MATRIX OUTPUT Block

A 24-channel (12 modules layer-switchable for channels 1 through 12 or 13 through 24) submix matrix for the mix buses, the STEREO channel, and

SUB IN channels. Each matrix module features a level encoder, ON switch, CUE switch, and SEL switch which assigns that channel to the SELECTED

OUTPUT CHANNEL controls.

DCA GROUP Block

12 DCA faders can be assigned to any input or output channels for convenient grouping. The faders can also be used to control individual bands of the internal 31-band graphic equalizer.

SELECTED OUTPUT CHANNEL Controls

The SELECTED OUTPUT CHANNEL controls — including up to a 1,000 millisecond delay, compression, 6-band EQ with bypass switches on each band, and DCA assignment — apply to the currently selected output channel: MIX, MATRIX, or STEREO A/B.

DELAY Section

Turns the channel delay on or off, and sets the delay time from 0 to

1,000 milliseconds for the selected input channel.

COMPRESSOR Section

Like the compressor featured in the SELECTED INPUT CHANNEL section, this is a full-featured variable-knee compressor with adjustable input high-pass or low-pass filter and key-in capability for precision compression of the console’s output signals.

EQUALIZER Section

A 6-band equalizer section with high and sub-low bands switchable for shelving or peaking response, and variable frequency and Q on all bands. The equalizer’s HIGH band alternatively provides LPF type filtering, while the SUB LOW band can be switched for HPF operation.

OUTPUT Section

This section of the SELECTED OUTPUT CHANNEL block includes an ON switch, TO ST and TO MTRX assign switches, an INSERT switch which allows external devices or internal effects to be patched into the current output signal, an output PAN/BAL encoder which can be used for pan or balance control depending on the signal assignment, a

LEVEL encoder for output level control, and a CUE switch.

CHANNEL SELECT Section

This section can be used to select the output channel to which the

SELECTED OUTPUT CHANNEL controls will apply. A CHANNEL COPY function is included which makes it possible to copy all parameters from one channel to any other channel.

Stereo Inputs

The stereo inputs feature essentially the same controls as the mono input channels. The main difference is that they have independent SEL switches to assign the L or R channel signal to the SELECTED INPUT

CHANNEL section.

Master Control & Data Entry

Fully assignable master and bus controls make signal routing exceptionally flexible and easy.

STEREO OUTPUT Block

The master stereo faders control the output from the console’s stereo bus. In addition to the faders the STEREO OUTPUT block includes channel ON switches, TO MATRIX (STEREO A) and

MONO (STEREO B) switches, CUE switches, and SEL switches which assign the STEREO A or B fader signal to the SELECTED OUTPUT CHANNEL controls (although there is only one stereo bus, the SELECTED OUTPUT CHANNEL parameters can be individually applied to the STEREO A and B signals). The STEREO OUTPUT block also features RECALL SAFE and MUTE SAFE LEDs similar to those on the input and output channels.

MASTER Block

The MASTER block includes controls which apply to the entire console: talkback, oscillator, monitor source selection and level, cue level. The MONTOR A module even features a variable delay of up to 750 milliseconds.

SCENE MEMORY Block

The PM1D can store up to 990 scenes, any of which can be recalled via the SCENE MEMORY block numeric keypad. 12 DIRECT RECALL buttons provide one-touch access to 12 of the stored scenes, but they can also be used as MUTE MASTER buttons, recalling any of 12 mute groups.

LCD FUNCTION ACCESS/USER DEFINE Block

Provides access to any of the console’s LCD display screen function pages, and includes a number of user-definable function buttons.

DATA ENTRY Block

This block includes cursor keys, INC/DEC keys, a data-entry dial, and a trackpad for versatile, easy data entry.

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Level Meters

Assignable level meters for comprehensive level monitoring. The leftmost 24 meters always display levels on MIX buses 1 through 24, while the rightmost 24 meters can be switched to display either the levels on MIX buses 25 through 48 or MATRIX buses 1 through 24.

The meter bridge also includes independent stereo meters for the STEREO A, STEREO B, and CUE signals. There’s also a TIME CODE readout which displays either time code received via the console’s rear-panel TIME CODE IN terminal and a SCENE MEMORY display which shows either current or preview (next) scene number and name.

Rear Panel Connectors

The CS1D rear panel provides connectors which allow interfacing with a wide range of external equipment, including the PM1D system rack units and power supply,

DAT recorders and other audio equipment, monitor systems, MIDI gear, and more.

Left Side

Most of the connectors used for interfacing with external devices are grouped here.

COMMUNICATION Connectors

TO HOST Connectors

TIME CODE IN Connector

GPI Connector

MIDI Connectors

REMOTE Connector

NUM KEY Connector

MOUSE Connector

KEYBOARD Connector

EXTERNAL VGA Connector

Center

POWER Connectors

Dual DC POWER INPUT connectors can be used with either one or two PW1D DC Power Units.

When two PW1D units are connected each provides

50% of the console’s power requirements.

If one unit malfunctions, the other takes over automatically to supply full power.

Right Side

Most of the connectors for connecting the various components of the PM1D system are grouped on the right side of the rear panel.

DIGITAL I/O Connectors

2-TRACK IN DIGITAL Connectors

STEREO OUT DIGITAL A and B Connectors

WORD CLOCK Connectors

LAMP Connectors

2TR IN ANALOG Connectors

MONITOR OUT ANALOG Connectors

TALKBACK IN 2 Connector

CUE OUT ANALOG Connectors

Front Panel

Connectors

KEYBOARD Connector

A PS/2-compatible keyboard can be connected here for convenient entry of channel names, scene titles, etc.

MOUSE Connector

A PS/2-compatible mouse can be connected here for convenient parameter control

(the external mouse can be used in the same way as the top-panel trackpad).

MONITOR A and B

Headphone Jacks

Headphone jacks for convenient direct monitoring of the console’s MONITOR A or MONITOR B signals.

LCD Display

Large 800 x 600 pixel display for efficient programming and control.

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Software Control

In addition to the physical CS1D controls, all PM1D setup and control parameters can be accessed via software using the console’s 800 x 600 LCD display screen and data entry controls. In fact, the entire system can be set up “off line” using the PM1D software on a standard Windows-based laptop computer, and then the data can be downloaded to the console either via a direct connection (serial) or via PCMCIA memory cards.

It would not be possible to introduce all of the

PM1D’s software parameters and displays in the space available here, but here are a few examples.

Effects

The PM1D has 8 independent internal multi-effect processors which can be patched into any of the console’s input, stereo, mix, or matrix channels. Effect parameters are adjustable via easy-to-use graphic on-screen controls. A comprehensive range of reverb, delay, modulation, and combination effects are provided so that unless a mix calls for a specific external effects processor, you won’t need any external processing at all. And, like most other parameter groups, an extensive preset “library” is provided for fast, easy setup. Of course, you can add your own setups to the library for instant recall whenever needed.

24 Graphic Equalizers

The PM1D provides a range of 24 31-band graphic equalizers for output processing. 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, and four notch filters with adjustable frequency and bandwidth.

For easy setup the console’s DCA faders can be assigned to directly adjust the GEQ bands in

12-band groups via the FADER STATUS switches.

Channel EQ

You can view and control all EQ parameters for a single channel in one display screen, or view multiple channels at a time. In the multiple-channel view parameters can be “drag-anddrop” copied between channels so you don’t need to individually adjust parameters when you want similar effect setups on several channels.

Compression and Gating

Setting up optimum compression and gating parameters can be a tricky business, but the

PM1D’s graphic displays make the process as easy as possible. In addition to duplicating the panel controls, the on-screen compressor and gate displays include the parameters you’ll need for key-in signal routing and setup. As in the equalizer displays, compressor and gate parameters can simply be “drag-and-drop” copied between channels for maximum efficiency when you need similar setups on multiple channels.

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System Configuration

The system connection displays let you see how the entire system is connected and what input and output modules are installed at a glance. You can even monitor individual levels for each I/O card. This can be a great time-saver, for example, in situations in which you need to check your input and output setup but the rack is located a long distance from the console.

Scene Management

If the PM1D’s 990-scene internal memory is not enough for your needs, scene data can be stored to PCMCIA memory cards inserted into either or both of the console’s card slots. In the same way, scene data created or edited “offline” on a personal computer can be loaded into the PM1D ready for use at any time. You can transplant entire system setups from one PM1D system to another via compact memory cards that can be comfortably carried in a shirt pocket. The card slots also provide a low-cost, convenient means for firmware updates, when they become available.

Patching

Several patch displays allow the system’s inputs, inserts, and outputs to be patched to appropriate I/O modules. You can also assign channel names for easy identification.

Centralized control means you’ll never have to run around to physically re-patch cables whenever you need to reconfigure the system, and patch setups you might want to use again can be stored in the patch library for instant recall at any time.

Preset Libraries for Fast, Efficient Operation

Setting up the entire PM1D 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 is,” or modified to suit specific requirements. Of course, your own setups can be added to the libraries for instant recall whenever they are needed.

The available preset libraries are: IN EQ, OUT EQ, COMP, GATE, DELAY, UNIT, PATCH, NAME,

EFFECT, and GEQ.

EQ Library COMP Library EFFECT Library

Specifications

GENERAL SPECIFICATIONS — 1

< PM1D >

Number of scene memories

990

Sampling Frequency

Internal: 48kHz/44.1kHz

Fader

Total Harmonic

Distortion

AD converter

External: 44.1kHz -10% ~ 48kHz +6%

67 x 100mm motorized

Less than 0.02% 20Hz ~ 20kHz @ +24dB into 600

Less than 0.007% 1kHz @+24dB into 600

CH IN to STEREO OUT

28bit 128 times over sampling

DA Converter

Frequency Response

Dynamic Range

(maximum level to noise level)

Hum & Noise

(Rs = 150W)

(Input Gain = Max.)

(Signal Delay 1.5msec @ Fs = 48kHz)

27bit 128 times over sampling

(Signal Delay 1.2msec @ Fs = 48kHz)

+1, -2dB 20Hz ~ 20kHz @ +10dB into 600

120dB typ. AD+DA (“LMY-” AD card to DA card)

-128dB typ. Equivalent Input Noise. (20Hz ~ 20KHz)

GENERAL SPECIFICATIONS — 2

Input section CH1-96, ST IN1-8

De-emphasis/DC cut

Phase

Patch

Attenuation

High pass filter

Equalizer

Gate

Comp

Delay

Fader

Normal/Reverse

Input, Direct out

(pre eq/pre fader/post fader/post on), Insert in/out

(pre eq/post eq/pre comp/pre delay/pre fader)

-96 ~ 0dB (1dB step)

20Hz - 600Hz (60 point) slope -6dB / -12dB / -18dB/oct

4band PEQ

(Low/shelving, Low-mid, High-mid, High/Shelving/LPF)

F: 20Hz-20kHz (120point),

Gain: + - 18dB (0.5step),

Q: 0.1-10 (41point)

Gate/Ducking selectable 4 key-in bus

Comp/Expander/compander selectable 4key-in bus

Delay time (0 ~ 250ms, 0.02msec step)

100mm motorized, -

∞,-90 - +10dB

(128 step/100mm),

Interpolation 24bit (16,777,216steps)

On/Off

Cue/Solo

Pan

Stereo/group assign

Metering

On/Off (PFL/AFL)

127 positions (L=1 - 63, center, R=1 - 63)

STEREO / MIX 1-48 (FIX / VARI selectable) pre att peak, comp/gate gain reduction, pre att/pre gate/pre fader/post fader/ post on selectable with Peak-Hold

GENERAL SPECIFICATIONS — 3

Output section STEREO A, B, MIX 1-48, MATRIX 1-24

Patch

Equalizer

Output, Insert in/out

6 band PEQ

(Sub Low/HPF/Shelving, Low, Low-mid, Mid, High-mid,

High/LPF/Shelving) (Bypass switch for each band)

(Parameters are same as input EQ)

Comp/Expander/compander selectable, 4 key-in bus

Delay time (0 ~ 1000ms, 0.02msec step)

Comp

Delay

On/Off

Cue/Solo

Balance

Mono to stereo assign to matrix assign

Metering

Dither

On/Off (PFL/AFL)

Stereo A, B, Paired Mix & Matrix

Stereo B from Mix output from Mix 1-48/stereo A, B comp gain reduction, pre eq/pre fader/post fader/post on selectable with Peak-Hold

On/Off, Word length 16 ~ 24bit (DIO8 only)

GENERAL SPECIFICATIONS — 4

Other mixer section

Effects

Graphic equalizer

Internal patchable eight multi-effects units

Internal patchable twenty-four 31-band graphic equalizers, each with 4 notch filters sine/pink/burst noise

Oscillator

Talk back

Communication In

From console 1 & 2

Including ducking control

12 DCA

with DCA mute, DCA cue/solo, 9-12 are selectable for output

12 Direct Memory Recall/Mute Group

Monitor A

2tr in 1, 2, ST A, B, user define selectable with delay (max 750msec)

Monitor B

2tr in 1-6

2tr in 1, 2, ST A, B, moni A, user define selectable

1 & 2: Analog/Coaxial/AES/EBU selectable,

3-6: AES/EBU

(with Sampling Rate Converter for digital input)

GENERAL SPECIFICATIONS — 5

ANALOG INPUT CHARACTERISTICS

Input

Terminals

TALKBACK

IN 1,2 *3. *5.

2-TRACK IN

ANALOG 1,2 *4.

-

GAIN

-44dB

+10dB

Actual Load For Use With

Impedance Nominal

3k

10k

50-600

Ω Mics &

600

Ω Lines

600

Ω Lines

Input level

Nominal Max. before clip

-44dB(4.89mV) -30dB(24.5mV)

+10dB(2.45V) +24dB(12.3V)

+10dB(2.45V) +24dB(12.3V)

Connector

XLR-3-31 type

(Balanced)*1.

XLR-3-31 type

(Balanced)*1.

*1. TALKBACK IN and 2-TRACK IN ANALOG XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

*2. 0dB is referenced to 0.775 Vrms.

*3. AD converters are 24bit linear, 128 times oversampling.

*4. AD converters are 28bit 128 times oversampling.

*5. +48V DC (Phantom power) is individually supplied to each TALKBACK connectors via 6.8k ohms resistors.

ANALOG OUTPUT CHARACTERISTICS

Input

Terminals

Actual Load

Impedance

MONITOR OUT A,B 150

For Use With

Nominal

600

Ω Lines

Input level

Nominal

+10dB(2.45V)

Connector

Max. before clip

+24dB(12.3V) XLR-3-32 type

(Balanced)*1.

CUE OUT

PHONES A1,B1

PHONES A2,B2

150

15

15

600

Ω Lines

8

Ω Phones

40

Ω Phones

8

Ω Phones

40

Ω Phones

+10dB(2.45V)

75mW

65mW

75mW

65mW

+24dB(12.3V)

150mW

150mW

150mW

150mW

XLR-3-32 type

(Balanced)*1.

Stereo Phone Jack

(Unbalanced)*2.

Stereo Phone Jack

(Unbalanced)*2.

*1. MONITOR OUT and CUE OUT XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

*2. PHONES stereo phone jack are unbalanced. (Tip=LEFT, Ring=RIGHT, Sleeve=GND)

*3. 0dB is referenced to 0.775 Vrms.

*4. DA converters are 24bit linear, 128 times oversampling.

19

spec.

20

spec.

DIGITAL INPUT&OUTPUT CHARACTERISTICS

INPUT/OUTPUT

TERMINALS

FORMAT LEVEL

DIGITAL I/O

ENGINE A1,A2

ENGINE B1,B2

RS422

CONSOLE 1,2

2-TRACK IN DIGITAL AES/EBU RS422

AES/EBU 1-6

2-TRACK IN DIGITAL IEC60958 0.5Vpp/75

COAXIAL 1-2

STEREO OUT DIGITAL AES/EBU RS422

AES/EBU A,B

STEREO OUT DIGITAL IEC60958 0.5Vpp/75

COAXIAL A,B

WORD CLOCK IN

WORD CLOCK OUT

SVGA OUT

-

-

SVGA

TTL/75

Ω(ON/OFF)

TTL/75

2Vpp

KEYBOARD

MOUSE

NUMKEY

REMOTE RS-422

MIDI IN,OUT,THRU

TIME CODE IN

GPI

PC CONTROL USB

PC CONTROL RS-232-C

-

-

-

-

PS2

PS2

PS2

MIDI

SMPTE

CONNECTOR

TYPE

D-SUB Half Pitch Connector 68P

(Female)

XLR-3-31 type Connector

PIN JACK

XLR-3-32 type Connector

PIN JACK

BNC Connector

BNC Connector

High density D-sub 15pin

Connector(Female)

TTL

TTL

TTL

Mini DIN 6pin Connector

Mini DIN 6pin Connector

Mini DIN 6pin Connector

RS422 D-sub 9pin Connector(Female)

DIN 5pin Connector

Nominal –10dB/10k

Ω XLR-3-31 type Connector

C-MOS IN,

Open collector out

D-SUB 25pin Connector(Female)

0V – 3.3V

RS-232-C

B Type USB Connector

D-SUB 9pin Connector(Male)

QUANTITY

6

2

2

6

2

1

1

1

3

2

2

1

1

1

1

1

1

INPUT/OUTPUT

TERMINALS

CONTROL I/O

ENGINE A 1IN,1OUT,2IN,2OUT

ENGINE B 1IN,1OUT,2IN,2OUT

CONSOLE 1IN,1OUT,2IN,2OUT

DC POWER INPUT

-

-

FORMAT LEVEL

-0.225V - -1.825V

DC 60V

CONNECTOR

TYPE

BNC Connector

KN-27-31S 27pin(Female) 2

QUANTITY

12

LCD Display800 x 600 Dots Graphic color LCD with backlit

PCMCIA card slot for external memory

PW1D Power Supply to the CS1D

GENERAL SPECIFICATIONS — 6

< DSP1D: DSP Unit >

10 digital signal in

6 digital signal out

Console I/O

Cascade I/O

Word clock I/O

68pin digital signal connector

68pin digital signal connector

2pair BNC 50

Ω, 68pin digital signal connector

68pin digital signal connector

BNC 75

Controls

ENGINE ID A/B indicators

CONTROL I/O 1/2 indicator

INPUT CONFIGURATION 48CH/96CH indicators

GENERAL SPECIFICATIONS — 7

< AI8: ANALOG Input Box >

Slot

Phantom Master switch

Digital signal Output

Control Input port

8slots for AD card

+48V DC for Mic/Line inputs

3 (A, B, C) 68pin digital connector

Port select switch (A/B/C)

< LMY2-ML: Mic/Line Input Card >

Gain control

78dB (-68 ~ +10) for Mic/Line inputs

AD converter

28bit, 128 times oversampling.

+48V DC (phantom power) is individually supplied to each input connectors

Input

Terminals

CH1A,1B

CH2A,2B

GAIN

-68dB

+10dB

Actual Load For Use With

Impedance Nominal

3k

Input level Connector

Nominal Max. before clip

50-600

Ω Mics &

-68dB(309uV) -54dB(1.55mV) XLR-3-31 type

600

Ω Lines

+10dB(2.45V) +24dB(12.3V)

(Balanced)*1.

*1 ANALOG INPUT 1-4 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

< LMY4-AD: AD Card >

AD converter

28bit 128 times oversampling.

Input

Terminals

CH1-4

Actual Load

Impedance

10k

For Use With

Nominal

600

Ω Lines

Input level

Nominal

+10dB(2.45V)

Connector

Max. before clip

+24dB(12.3V) XLR-3-31 type

(Balanced)*1

*1. ANALOG INPUT 1-4 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

GENERAL SPECIFICATIONS — 8

< AO8: ANALOG Output Box >

Slot

Digital signal Input

8slots for DA card

2 (A, B) selectable 68pin digital signal connector

< LMY4-DA: DA Card >

Maximum Output level

DA converters

24/18/15dB selectable for individual channel

27bit 128 times oversampling.

Output

Terminals

CH1-4

Gain Actual Source For Use With

Switch Impedance

+24dB 150

+18dB

+15dB

Nominal

600

Ω Lines

Output level

Nominal

+10dB(2.45V)

+ 4dB(1.23V) +18dB(6.16V)

+ 1dB(870mV) +15dB(4.36V)

Connector

Max. before clip

+24dB(12.3V) XLR-3-32 type

(Balanced)*1

*1. ANALOG OUTPUT 1-4 XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

GENERAL SPECIFICATIONS — 9

< DIO8: Digital I/O Box >

Slot

Digital connector

mini-YGDAI 8slots

68pin digital signal connector

4 (in A, B, out A, B) Port B selector for slot 5-8

< Optional Card: mini-YGDAI Cards >

MY8-TD

TASCAM Format

MY8-AT

ADAT Format

MY8-AE

AES/EBU Format

MY8-AD

ANALOG 8in Format

MY4-AD

ANALOG 4in Format

TASCAM is registered trademarks of TEAC Corporation.

ADAT is registered trademarks of Alesis Corporation.

MY4-DA

ANALOG 4out Format

CS1D

GENERAL SPECIFICATIONS — 10

<Dimensions>

Height Depth Width Weight Power Requirement

USA Canadian European model(120V 60Hz) model(230V 50Hz)

CS1D

Control Surface

353mm 974mm 1904mm 120kg

(13.9") (38.3") (75") (264.6 lbs.)

PW1D 97.5mm 368.5mm 480mm 9.6kg

Power supply to the CS1D (2U)(3.8") (14.5") (18.9") (21.2 lbs.)

400W

DSP1D

DSP unit

AI8

AD unit(no cards)

AO8

DA unit(no cards)

DIO8

Digital I/O unit(no cards)

409mm 455mm 480mm 33kg

(9U)(16.1") (17.9") (18.9")

170W

(72.7 lbs.) (with 8cards)

132mm 455mm 480mm 15.4kg

(3U)(5.2") (17.9") (18.9") (34 lbs.)

120W

(with 8cards)

132mm 455mm 480mm 15.4kg

(5.2") (17.9") (18.9") (34 lbs.)

120W

176mm 400mm 480mm 15.5kg

(4U)(6.9") (15.7") (18.9")

70W

(34.2 lbs.) (with 8cards)

400W

170W

(with 8cards)

120W

(with 8cards)

120W

70W

(with 8cards)

LIBRARIES

PATCH Libraries

NAME Libraries

INPUT UNIT Libraries

OUTPUT UNIT Libraries

INPUT EQ Libraries

OUTPUT EQ Libraries

INPUT GATE Libraries

INPUT COMP Libraries

OUTPUT COMP Libraries

INPUT CH Libraries

OUTPUT CH Libraries

EFFECT Libraries

GEQ Libraries

Number of user library

Number of user library

Number of user library

Number of user library

Number of factory presets

Number of user library

Number of factory presets

Number of user library

Number of factory presets

Number of user library

Number of factory presets

Number of user library

Number of factory presets

Number of user library

Number of user library

Number of user library

Number of factory presets

Number of user library

Number of user library

70

129

99

9

90

99

99

4

95

34

65

37

62

3

96

99

99

99

99

PM1D : Digital Audio Mixing System

48 CH MODEL

ENGINE

A

1

B

2

DSP1D DSP1D-EX

96 CH MODEL

A

COMMUNICA TION

1

B

2

CS1D

PW1D

IN

AI8-ML8

16 in

AI8-ML8

16 in

AI8-ML8

16 in

AI8-ML4AD4

8+16 in

AI 8

+48V

AI

8

+48V

AI

8

+48V

AI 8

+48V

AI8-ML8

16 in

AI8-ML8

16 in

AI8-ML8

16 in

AI8-ML8

16 in

AI 8

+48V

AI

8

+48V

AI

8

+48V

AI 8

+48V

AI8-ML8

16 in

AI8-ML8

16 in

AI8-ML8

16 in

AI8-AD8

32 in

AI 8

+48V

AI

8

+48V

AI

8

+48V

AI 8

+48V

OUT

AO8-DA8

32 out

AO8-DA8

32 out

A

B

AO 8

A

B

AO 8

INPUT

48 mono

4 st

16 insert

Total 72 in

OUTPUT

2 stereo

24 mix

12 matrix

16 insert out

8 (talkback, monitor,etc)

Total 64 out

AO8-DA8

32 out

B

A

AO 8

AO8-DA8

32 out

AO8-DA8

32 out

B

A

AO 8

INPUT

96 mono

8 st

32 insert

Total 144 in

OUTPUT

2 stereo

24 mix

12 matrix

32 insert out

24 (talkback, monitor,etc)

Total 64 out

A

B

AO 8

MODEL

CS1D

PW1D

DSP1D

DSP1D-EX

AI8-ML8

AI8-ML4AD4 1

AI8-AD8 0

AO8-DA8 2

48 CH 96 CH

1 1

1

1

0

3

1

0

1

7

0

1

3

*Specifications and appearances are subject to change without notice.

21

spec.

PM1D System Block Diagram (CS1D, DSP1D, AI8, AO8, DIO8)

CH 1 A

CH 1 B

CH 2 A

A/B

+48V

+48V

PHANTOM

MASTER ON/OFF

HA AD

GAIN

A/B

+48V

HA AD

CH 2 B

[AI8 + LMY2-ML]

CH 1

CH 2

GAIN

BA AD

BA AD

BA AD

CH 3

CH 4

BA AD

[AI8 + LMY4-AD]

Option Card IN (8ch)

8

[DIO8 + MYx-xx] from EFFECT 1(-8) from GEQ 1(-24)

COAXIAL

2-TRACK IN DIGITAL1(-2)

AES/EBU

SRC

2

2

2

Lch

2-TRACK IN ANALOG1(-2)

Rch

2

BA AD

AES/EBU

2-TRACK IN DIGITAL3(-6)

SRC

2

CH 1(-48)

(-96)

PEAK

METER

DE-

EMPHASIS

ATT.

HPF

CH 1(-48)

(-96)

DE-

EMPHASIS

INSERT IN 1(-48)

(-96)

5

INSERT

METER

4BAND

PEQ

KEY IN

SEL to OUTPUT PATCH

INSERT OUT 1(-48)

HPF

KEYIN SOURCE: SELF PRE EQ

SELF POST EQ

LEFT CH(POST EQ)

KEYIN BUS1-4

LPF

METER

GATE

(-96)

METER

COMP

KEY IN

SEL

KEYIN CUE from PRE ATT.

from PRE EQ

DELAY

METER

STIN 1(-4)

(-8)

PEAK

METER

DE-

EMPHASIS

STIN Lch 1(-4)

(-8)

DE-

EMPHASIS

ATT.

HPF

5

INSERT IN STIN 1(-4) Lch

(-8)

KEY IN

SEL to OUTPUT PATCH

INSERT OUT STIN L 1(-4)

METER

4BAND

PEQ

HPF LPF

METER

GATE

METER

COMP

KEY IN

SEL from PRE ATT.

from PRE EQ

DELAY

METER

PEAK

METER

ATT.

DE-

EMPHASIS

STIN Rch 1(-4)

(-8)

DE-

EMPHASIS

HPF

5

INSERT IN STIN 1(-4) Rch

(-8) to OUTPUT PATCH

INSERT OUT STIN R 1(-4)

METER METER METER from PRE ATT.

from PRE EQ

4BAND

PEQ

GATE

COMP

DELAY

KEY IN

SEL

HPF LPF

KEYIN CUE

KEY IN

SEL

METER

KEYIN CUE

COMM IN

SUB IN L

SUB IN R

DIRECT IN L

DIRECT IN R

DE-

EMPHASIS from CASCADE IN to CASCADE OUT

DE-

EMPHASIS

DE-

EMPHASIS

DE-

EMPHASIS

DE-

EMPHASIS

METER

CUE

...

MIX1 MIX2

...

FADER

ON

PAN

MIX1(ODD)

FIXED MIX PAN

TO ST

ON

FIX

MIX2(EVEN)

MIX PAIR

VARI

DIRECT OUT 1(-48) to OUTPUT PATCH

(-96)

...

METER

CUE

FADER

ON

PAN

MIX1(ODD)

FIXED MIX PAN

TO ST

FIX

ON

VARI

MIX2(EVEN)

DIRECT OUT STIN 1(-4) Lch to OUTPUT PATCH

(-8)

METER

CUE

FADER

ON PAN

FIXED MIX PAN

TO ST

ON

FIX

VARI

DIRECT OUT STIN 1(-4) Rch to OUTPUT PATCH

(-8)

ON

GATE

MONITOR A

LEVEL to MONITOR A

CUE

...

1

TALKBACK IN

2

+48V

+48V

PHANTOM

-44

+10

HA

+48V

LEVEL

+48V

PHANTOM

AD

-44

+10

HA

LEVEL

AD

[CS1D]

12

DE-

EMPHASIS

: DSP1D

: OTHER

OSC

Frequncy: 100Hz - 10kHz

PINK

NOISE

BURST

NOISE

HPF

LPF

LEVEL

OSC ON

TB ON

ON from CASCADE IN

OFF to CASCADE OUT

TB OUT

OSC OUT

OSC OUT to OUTPUT PATCH

TALKBACK OUT to OUTPUT PATCH

58

CASCADE IN to MONITOR A to MONITOR B to COMM IN to TALKBACK

...

...

DE-EMPHASIS

METER

6BAND

PEQ from INPUT PATCH

STEREO A

METER

INSERT

COMP DELAY

INSERT IN ST A Lch

CUE

KEY IN

SEL

DE-EMPHASIS

METER

6BAND

PEQ from INPUT PATCH

METER

COMP DELAY

INSERT IN ST A Rch

KEY IN

SEL

FADER

ON

BALANCE

FADER

...

DE-EMPHASIS

METER

6BAND

PEQ from INPUT PATCH

METER

COMP

STEREO B

DELAY

INSERT

MONO

FADER INSERT IN ST B Lch

CUE

KEY IN

SEL

DE-EMPHASIS

METER

6BAND

PEQ from INPUT PATCH

METER

COMP DELAY

INSERT IN ST B Rch

CUE

KEY IN

SEL

ON

BALANCE

FADER

METER to MONITOR to CS1D to MATRIX

METER to MONITOR to CS1D to MATRIX

METER to MONITOR to CS1D to MATRIX

METER to MONITOR to CS1D to MATRIX

DE-EMPHASIS

METER

6BAND

PEQ from INPUT PATCH

MIX 1(-48)

METER

COMP DELAY

FADER

INSERT IN MIX1(-48)

CUE

KEY IN

SEL from MIX1 from MIX48 from STEREO A Lch from STEREO A Rch

SUB IN Lch

SUB IN Rch

ON

METER to MONITOR to MATRIX

PAN

MIX to STEREO

DE-EMPHASIS

METER

6BAND

PEQ from INPUT PATCH

MATRIX 1(-24)

to MONITOR

METER

COMP to KEYIN BUS

DELAY

FADER

ON

INSERT IN

MTRX1(-24)

KEY IN

SEL

METER

CUE from CASCADE IN to CASCADE OUT DELAY

DIMMER from MIX1 from MIX48 from MATRIX1 from MATRIX24

DIRECT INPUT Lch

DIRECT INPUT Rch from CASCADE IN

DEFINE from STEREO A Lch from STEREO A Rch from STEREO B Lch from STEREO B Rch

2TR IN 1 Lch

2TR IN 2 Rch

2TR IN 3 Lch

2TR IN 6 Rch

MONITOR A SELECTOR

same as above from MONITOR A

MONITOR B SELECTOR

4 to KEY IN SEL

DELAY

TRIM

DELAY

L MONO/R MONO

DELAY from COMM IN

COMM IN to MONITOR B to CASCADE OUT to CASCADE OUT

TO MONI B ASSIGN

DAC

DAC

CH1

CH2

CH3

DAC

DAC

8

DITHER

CH4

[AO8 + LMY4-DA]

Option Card OUT(8ch)

EFFECT 1(-8)

[DIO8 + MYx-xx]

METER to EFFECT RETURN

METER

31band GEQ1(-24) with Selectable

SPECTRUM

ANALYZER

METER to GEQ RETURN from DSP1D

2

DITHER from DSP1D

2

DITHER

METER

METER

DAC

DAC

LEVEL

METER

METER

DAC

ON

DIMMER

DAC

DAC

LEVEL

ON

TALKBACK

DAC

LEVEL

METER

METER

DAC

DAC

LEVEL

ON

DAC

DAC

LEVEL

ON

COAXIAL

STEREO OUT DIGITAL A

[24bit Data]

AES/EBU

COAXIAL

STEREO OUT DIGITAL B

[24bit Data]

AES/EBU

L

CUE OUT

R

L

MONITOR

OUT A

R

MONITOR A

PHONES

MONITOR A

PHONES

MONITOR B

PHONES

MONITOR B

PHONES

L

MONITOR OUT B

R

[CS1D]

58

CASCADE OUT from MONITOR A from MONITOR B from COMM IN from TALKBACK

PM1D System Level Diagram

-150

-160

-170

-180

-190

-100

-110

-120

-130

-140

-70

-80

-90

-30

-40

-50

-60

0

-10

-20

-200

-210

-160

-170

-180

-190

-80

-90

-100

-40

-50

-60

-70

-110

-120

-130

-140

-150

+24

+20

+10

+4

0

-10

-20

-30

Analog dBu

Digital dBFS Bit

24

25

26

27

28

29

11

12

13

14

15

16

17

7

8

9

10

18

19

20

21

22

23

2

3

4

5

6

0

1

30

31

32

33

34

35

36

Max.

Input [+24dB]

GAIN MIN

Nominal

Input [+10dB]

GAIN MIN

Max.

Input [-54dB]

GAIN MAX

Nominal

Input [-68dB]

GAIN MAX

Analog

(LMY2-ML)

GAIN

HA

AD

[+20dB]

[+6dB]

Digital

(DSP1D)

PHASE PATCH

DE-

EMPHASIS ATT.

HPF EQ GATE COMP DELAY LEVEL ON

CASCADE IN

PAN

BUS

Adder

EQ

Digital

(DSP1D)

COMP DELAY

MASTER

LEVEL

MASTER

ON

PATCH DA

Analog

(LMY4-DA or CS1D)

CASCADE OUT Digital Clipping Level

Max. Output

[+24dB]

STEREO OUT A-B

MIX OUT 1-48

MONITOR OUT A-B

MATRIX OUT 1-24

Nominal Output

[+10dB]

Analog dBu

+24

+20

+10

+4

0

DSP Noise Floor

-80

-90

-100

-110

-120

-130

-10

-20

-30

-40

-50

-60

-70

-140

-150

-160

-170

-180

-190

[0dBu = 0.775Vrms]

[0dBFS = Full Scale]

22

diagram

YAMAHA web site

http://www.yamaha.co.jp/english http://www.yamaha.co.jp/product/proaudio/homeenglish

LPA435

Printed in Japan

DIGITAL AUDIO MIXING SYSTEM

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