Jul 1, 2007 7:29 PM

YAMAHA DSP5D
December 2006—The DSP5D from Yamaha (www.yamahaproaudio.com) puts the functionality of its PM5D-RH digital live console—less the control surface—into a rack unit that's controllable from a PM5D. Priced at less than $30,000, a single DSP 5D doubles the mixer's I/O channels, with 96 mono and 16 stereo channels accessible via four fader layers—or add a second DSP 5D unit for 144 mono/24 stereo capability. The DSP 5D can reside next to the host PM5D or act as a remote stage box (with all I/O accessible on the front panel) using an optional digital cabling unit for communication up to 120 meters away over standard Cat-5 cable.

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YAMAHA DM2000VCM
October 2006—This console's Virtual Circuitry Modeling (VCM) technology can simulate analog circuitry, emulating the sounds of sought-after vintage gear—compressors, EQs and even tape machines. Onboard iSSP (Interactive Spatial Sound Processing) provides surround post effects and room acoustics that models reflection decay based on source directivity and room surface materials. Matrix sound processing converts source position data to parameters that control the output of each matrix channel and simulate distance-related decay through delay and filter processing.

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YAMAHA M7CL
September 2006—For midrange live use, Yamaha's M7CL puts all the faders on one page and offers a touchscreen LCD. The unit comes with 32 or 40 mic input channels with recallable mic pre's, four onboard stereo effects, eight graphic EQs, 16 mix buses, eight matrix outs and three rear panel expansion slots. Mix data can be stored to USB memory stick or to an XP PC using Yamaha's Studio Manager via Ethernet.

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YAMAHA SHIPS PM1DV2
September 2006—Yamaha's PM1DV2 sound reinforcement console is shipping. The new version features automatic gain adjustment for systems using shared inputs, a pre-HPF direct out for recording feeds and built-in add-on effects such as a studio-grade compressor, vintage EQ, tape-style compression and high-end REV-X reverb. For theater applications, an enhanced Event List enables the Timecode Event List to match that found on the Yamaha PM5D console.

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YAMAHA MY-SERIES CARD OPTIONS
September 2006—Yamaha's MY Series 24-bit/96kHz-compatible expansion cards can be inserted into any of Yamaha's PM/DM/0 Series digital consoles and DME Series DSP engines. Designed for broadcast, the MY8-AEB 8-in/8-out AES/EBU interface for unbalanced digital signal transmission has eight BNC I/Os and a single BNC reference video sync input. A 16-channel MY16-CII CobraNet interface is targeted for live sound users.

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YAMAHA PC9501N
January 2006—The PC9501N ($1,699) is the top of Yamaha's PC-1N Series of networked amplifiers. The PC9501N provides stereo, parallel and bridged-mono output modes, delivering 925W/channel into 8 ohms/stereo and 4,600W bridged mono at 4 ohms. Weighing less than 29 pounds, the PC9501N employs a switching regulator that yields a more stable and balanced supply of voltage and current, and eliminates fluctuations in output level. Each channel features a 31-position input attenuator, highpass filter and 10-segment LED meter. Rear panel input is via balanced XLR and Euroblock connectors with binding post and Speakon output connectors. Dual RJ-45 terminals are included for networking the PC9501N via CobraNet with Yamaha's ACU16-C amplifier control unit and NetworkAmp software.

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YAMAHA M7CL CONSOLE
November 2005—Yamaha’s M7CL digital console puts all the faders on one page and a touchscreen LCD. Offered with 32 or 40 mic input channels with recallable mic pre’s, there are four stereo inputs and internal processing provides four stereo effects and eight graphic EQs. Beyond the LCR bus, there are 16 mix buses, eight matrix outs and three expansion slots on the rear panel. Files can be stored on a USB memory stick or synchronized and stored to an XP PC using an editor from within Yamaha’s Studio Manager over an Ethernet cable.

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YAMAHA PM1DV2
October 2005—Yamaha’s PM1DV2 sound reinforcement console makes its AES debut. Notable features include automatic gain adjustment for systems using shared inputs and Load Filter, which allows for more flexible file management to and from the PCMIA data memory card. For theater applications, an enhanced Event List enables the Timecode Event List to match that found on the Yamaha PM5D console. An Insert/Delete Channel function has been added to improve the already user-friendly console setup. Price: $86,000.

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YAMAHA PM1D
September 2005—Yamaha’s PM1D Version 2 system comprises a CS1DV2 control surface and DSP1DV2 or DSP1DV2-EX rackmount processing engines, both of which deliver 28-bit A/D and 27-bit D/A conversion. The CS1DV2 has four 12-channel assignable input control sections; the console’s Flip switch provides access to an additional 48 channels. Controls for the selected channel are accessible via analog-style controls with a color LCD showing channel settings. The DSP1DV2 engine supports 56 channels, while the DSP1DV2-EX runs 112. Output complement includes two main stereos, 48 mix buses and 24 matrix, each with 6-band parametric EQ, delay and compressor. Inserts and direct outputs are available for all channels, while 12 DCA groups simplify complex mixing systems.

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YAMAHA V. 2 ADD-ON EFFECTS
September 2005—Version 2’s Add-On Effects include a studio-grade compressor, vintage EQ, tape-saturation simulation and Yamaha’s Reverberator REV-X. The PM1D V. 2 provides data backup via USB or serial port, as well as PCMCIA card. The CS1DV2 control surface starts at $66,000; DSP1DV2 at $17,400; and DSP1D-EX at $19,500.

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YAMAHA PM5D
September 2005—Yamaha’s PM5D ($49,800) and PM5D-RH ($67,000) come in two basic configurations: The PM5D includes 48 analog XLR/TRS inputs with manual mic pre’s, while the PM5D-RH offers 48 analog XLR mic inputs with recallable gain. A 24-channel work surface mixes up to 64 inputs. Using the PM5D’s internal digital patchbay and four rear panel mini-YGDAI slots, a user can instantly scene-switch between totally discrete stage setups of up to 130 inputs. Separate stereo and LCR buses are furnished, along with 24 submaster or aux send mix buses, eight DCA faders and an 8-output mix matrix. Eight independent SPX2000-class multi-effects processors can be patched into any channel. The PM5D supports surround panning from 3.1 to 6.1, and has a 500-scene memory. The PM5D is ready for Yamaha’s Add-On Effects and includes the REV-X Reverb. Other effects such as the Compressor276, Compressor260, EQ601 and Open Deck can be obtained by purchasing the Channel Strip and Master Strip packages.

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YAMAHA DM2000
September 2005—The company’s DM2000 ($18,600) controls 96 channels in four layers of 24 at any sample rate up to 96 kHz with 24-bit resolution and 32-bit internal processing. Twenty-four channels of balanced XLR mic/TRS line-level input feature phantom power, trim control, pad and balanced insert send and return. Additional inputs may be added via six rear panel mini-YGDAI card slots. A Selected Channel section provides dedicated encoders to adjust channel parameters. In addition to independent compression and gating on each channel, six 31-band graphic EQs may be patched to any desired signal path. Thirty output buses (eight subgroup, 12 aux, L/R stereo and four stereo matrix) may be assigned to any output connector. Eight onboard effect processors can be fed from auxiliary buses or inserted directly into input channels. All DM2000 V. 2 inputs, outputs, effects and inserts can be assigned to any of the console’s channels via internal digital patching. The DM2000 features snapshot recall, complete DAW control, MMC and Yamaha’s Automix dynamic automation. Studio Manager V. 2 software places control of every desk parameter into a PC or Mac. The DM2000 V. 2 also offers 96kHz effects, access to Yamaha’s Add-On Effects package and memory card–based data management.

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YAMAHA DM1000 V. 2
September 2005—The DM1000 V. 2 ($5,599) handles 48 channels of audio at sample rates up to 96 kHz/24-bit with 32-bit internal processing. The DM1000 is equipped with 20 analog XLR inputs and 12 analog XLR outputs. Two mini-YGDAI slots allow the DM1000 to be used with ADAT, Tascam or AES/EBU digital formats, as well as additional analog I/O. Channels are organized in three layers under 17 touch-sensitive motorized faders. Eight auxiliary buses can be patched anywhere in the system, and patch setups can be stored in the onboard library for instant recall. In addition to scene recall, the board features Yamaha’s Automix Automation and Studio Manager software for computer control and management. The DM1000 can be used for DAW control over Pro Tools, Logic Audio and Nuendo. A mini-joystick, multichannel routing with bass management and independent speaker delay facilitate surround mixing.

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YAMAHA PM-1D V. 2
May 2005—New Version 2 software for Yamaha's PM-1D digital console has features such as automatic gain adjustment for shared inputs, load filter for more flexible file management with PCMCIA memory cards and insert/delete channel to improve console setup. Other new features include a fader view display and integration of Yamaha's add-on effects, including vintage compressors, EQ, REV-X and tape emulation.

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YAMAHA DME24N, DME64N
January 2005—New from Yamaha are the DME24N and DME64N Digital Mixing Engines. The DME24N has 24 mic/line I/O channels including eight analog channels and a card slot for additional digital and analog I/O. The DME64N includes up to 64 channels of I/O with four mini-YGDAI slots that accept a range of 8- or 16-channel digital and analog I/O cards. Both models feature headphone outs, four control panel options (including GPI- and Ethernet-equipped versions) and the ability to develop a complete control system by using a DME, a Yamaha PM5D digital mixing console and the 16-channel Yamaha MY16-C CobraNet YGDAI expansion card.

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YAMAHA ACTIVE FIELD CONTROL
December 2004—Yamaha sponsored yet another trade show musical highlight with Take 6's a cappella performance at the Museum of Modern Art, accompanied by a demonstration of Yamaha's “Active Field Control” ambience enhancement system, which turned a brick-walled gallery into a concert hall. Amazing!

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YAMAHA PM5D DIGITAL CONSOLE
November 2004—The PM5D combines the features and self-contained design of the acclaimed DM2000 with the operating style of the groundbreaking PM1D to create a new category of live performance digital consoles. The console offers 64 input channels (48 mono, plus four stereo analog inputs, four internal stereo returns) of dynamic 96kHz audio with 32-bit internal processing. All onboard AD/DA conversions use 24-bit/96kHz converters. Outputs include 24 mix, two stereo (ST A and B or LCR), eight matrix, eight mute groups and eight DCAs. The PM5D functions without the use of a meter bridge. Retail: $48,900.

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YAMAHA MG8/2FX, MG12/4FX
September 2004—Yamaha unveiled two new MG Series mixers: the MG8/2FX and the MG12/4FX. The new units include phantom-powered mic preamps, 3-band EQ, onboard effects and a variety of I/O options. Also showing was the new MY16-mLAN card, which offers 16 channels of audio and MIDI on a single IEEE-1394 cable. The card brings mLAN to the DM1000, DM2000, 02R96 and 01V96 digital consoles.

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YAMAHA AD8HR
July 2004—The AD8HR ($2,200), an 8-channel mic preamp and A/D converter from Yamaha, features head amplifier circuitry gleaned from the company's PM5000 analog mixing console. The unit supports sampling rates up to 96 kHz and easily integrates into digital console setups. Offering a user-friendly front panel, the single-rackspace AD8HR offers a Head Amp Remote-Control function where channel phantom power and highpass filter cut-off frequencies may be switched on and off via remote control. This “stage box” capability allows the mic preamp to be remotely adjusted in 1dB steps from digital consoles. Up to 255 AD8HR units can be daisy-chained together using a standard 9-pin RS422 and a digital connection via AES/EBU. The rear panel AD8HR connections include eight XLR inputs, BNC-type I/O connectors for word clock and two D-Sub 25-pin AES/EBU digital output terminals.

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YAMAHA PM5D
May 2004—The Yamaha PM5D was the big buzz. A 24/96 digital 5k, its 48 mono and four stereo inputs all have connectors on the desk's doghouse side. Outputs include 24 mix (group/aux), two stereo (stereo A and B, or LCR), eight matrix, eight mutes, eight DCAs and eight stereo effects. The standard configuration has manually adjusted mic pre's based on the DM2000, each with balanced TRS inserts and four stereo line inputs. The RH model has digitally recallable mic pre's from the PM5000, with four stereo inputs that accept mic-level signals. All inputs have 4-band parametric EQ, independent compression and gating, and LCR and surround panning. Twelve graphic EQs can each be assigned to any mix bus or inserted to inputs. The control surface has 38 motorized 100mm faders for the two “layers” of 24 mono inputs, plus masters, stereo returns and eight DCA groups. There's just over a millisecond of latency at 96 kHz. Priced slightly lower than a new 4k, only a couple dozen will be available this June.

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YAMAHA NEW PM-1D INPUT CARDS
November 2003—Yamaha has new PM-1D input cards offering PM5000-quality mic pre's. One version has A/B inputs for two channels with 28-bit sampling, while the other has four channels with 24-bit sampling for higher rack-density. The PM-1D on display was being controlled remotely from a wireless RECO tablet from TEQSAS. The 8-inch 800×600 touch-sensitive screen is a smart device running embedded Linux with a Flash Disk to make it extremely rugged in its rubber sleeve. It connects to the user's device-wired computer via Wi-Fi and can control many software apps, offering wireless control potential for other products.

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YAMAHA PM5000
October 2003—The Yamaha PM5000 sound reinforcement console make its AES debut in New York. The PM5000 analog console features 52 inputs, 35 mix buses, 12 VCAs, a 16×37 matrix, 1,000 scene recall with Yamaha's redesigned mic preamp and EQ.

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YAMAHA PM5000
May 2003—The big console news was Yamaha’s highly anticipated PM5000, marrying the convenience of digital scene recall into a 35-bus LCR analog desk. Features include 12 stereo aux buses, eight mono auxes (alternatively usable as groups), 12 VCAs and an 8 mono + 4 stereo matrix. Besides motorized faders, its deep scene automation includes all channel assignments for 990 user-titled memories with recall and fader safeties. Standard configurations of 52, 36 and 28 channels include four stereo inputs, but additional ones can replace mono channels. The largest is 500 pounds, 84 inches wide and $93,000 list. Yamaha’s demo room provided a nostalgic look at its entire line of analog and digital consoles through the years. I admit feeling a bit verklempt as I pushed a PM1000 fader one last time. PM5000 faders can push themselves.

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YAMAHA 01X
April 2003—Decidedly less expensive is Yamaha's 01x, a small-footprint mixer for computer music production, but sporting 28-channel capacity, DAW control with moving faders, Mac and Windows drivers, dual 32-bit effects processors, 24-bit/96kHz multichannel mLAN (and MIDI) I/O interfacing and more. Price? About $1,700 when it ships this fall.

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YAMAHA PM-1D
January 2003—The Yamaha PM-1D is a fully digital touring/installed sound console. Recipient of a TEC Award in 2001, the PM-1D configurations include both 48- and 96-channel versions, each furnished with 48 mix buses, 24 output matrices and 12 DCAs. The latest system software, Version 1.5, contains operational enhancements and new expansion capabilities, including dual-console mode, system cascade and remote MIDI-control change operation; when fully expanded, the system is capable of controlling up to 384 inputs, 192 channels and 96 mix buses. System features include complete recall and undo, a 32-bit internal audio path, 4-band fully parametric EQ and full dynamics processing on inputs and buses. Additional features include scene memory recall of channel A/B assignments, virtual channels and a user-defined number of aux sends, effects processors and graphic EQs. In operation, the DSP1D digital audio engine (typically located onstage) communicates with the PM-1D’s 260-pound, 75x38-inch control surface via a 68-pin cable and two Ethernet connectors. If the control surface loses power or is accidentally disconnected from the audio engine, then the system will continue to stream audio uninterrupted. Prices range from $110,000 to $145,000.

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YAMAHA PM1D
September 2001—The Yamaha PM1D is a fully digital large-format console for touring or installed sound. Features include complete recall and undo and a 32-bit internal audio path, and the system is capable of controlling up to 384 inputs, 192 channels and 96 mix buses when fully expanded. The PM1D's 260-pound, 75x38-inch control surface uses a 68-pin cable and two Ethernet connectors to communicate with the companion DSP-1D digital audio engine, which may be located onstage. If the control surface loses power or is accidentally disconnected from the audio engine, then the system will continue to stream audio without interruption. PM1D configurations include both 48- and 96-channel versions, each furnished with 48 mix buses, 24 output matrices and 12 DCAs. Additional features include 4-band fully parametric EQ and full dynamics processing on inputs and buses, scene memory recall of channel A/B assignments, virtual channels and a user-definable number of aux sends, effects processors and graphic EQs. Prices range from $110,000 to $145,000.