Yamaha Power Amplifier White Paper

August 2008

Table of Contents

1. About EEEngine....2

1.1. 1.2. 2.1. 2.2. 3.1. 3.2. 3.3. Introduction......2 Explanation of different amplifier topologies....2 Dual mono-amplifier structure.....5 Full resonance switching power supply....5 Importance of stable 2 ohm load capability....6 Comparison of amplifiers at lower impedance situations....7 Explanation of results of listening test using music source....8
2. Yamaha technology....5
3. Behavior of the amplifier under heavy load condition..6

1. About EEEngine

1.1. Introduction Yamaha Power Amplifier Philosophy Our approach to manufacturing power amplifiers is simple; pure and natural amplification of the input signal. Mixed audio is sent to the amplifier from the mixing console, to be amplified before final coloring or flavoring through the loudspeakers. The role of amplifiers in a sound system should not be to add its own color, but to be faithful to the input signal to give you maximum control over the final sonic performance.
[ Fig.3 ] Output signal of Yamaha T5n amplifier; Natural and true to the input
Reliability is another important feature of Yamaha amplifiers. All Yamaha products are also tested under severe conditions and must comply with Yamahas strict quality assurance standards. Read more about Yamahas quality assurance testing and standards at: http://www.yamahaproaudio.com/topics/leading_technol ogy/quality_control/index.html 1.2. Explanation of different amplifier topologies There are many different amplifier topologies, or circuit design principles that are used in professional power amplifiers. The majority of the high power amplifiers seen in the professional audio industry today can be classified as derivatives of three major technologies; Class H, Class D or a hybrid of Class AB and Class D such as Yamahas EEEngine (Energy Efficient Engine). Class AB Class AB technology is the foundation of professional amplification. Even to this day, Class AB amplifiers can be found in many professional audio applications. This topology, which had been the norm in the industry for decades, offers a simple circuit configuration and superb sound quality. Yamahas older amplifiers such as P2200 released in 1976 and PC2002M, released in 1982 were Class AB amplifiers. Class AB topology, however, has a drawback of always requiring its output stage to drive at maximum voltage output, resulting in a great deal of heat dissipation. This low efficiency is the reason why Class AB amplifiers are comparatively limited in output power considering their unit size and weight. When
[ Fig.1 ] The input signal, 70Hz burst sine wave.
[ Fig.2 ] Output signal of a typical competitor amplifier.
driven with typical program material with occasional clipping (1/8 power), Class AB topology typically achieves around 20% efficiency*, meaning that 80% of power drawn is lost as heat. Various methods have been developed to overcome this drawback which led to the development of Class H and Class D topologies.
* Efficiency rate within this document refers to overall efficiency of the power amplifier including its mains power supply. Efficiency is calculated at 1/8 of rated output power, which is a reference of typical program material with occasional clipping.
[ Fig.5 ] Class H operational waveform.
[ Fig.4 ] Class AB operation waveform.
Class H Class H uses a method that switches the power supply voltage level according to the input signal. This can vastly improve output stage heat dissipation by providing low voltage when the signal level is low. However, as the signal level increases, the system functions in the same way as a Class AB system, and efficiency is lost. Class H loses efficiency when fed music signals with a wide dynamic range. A system that uses a multi-step voltage switching method may easily come to mind to overcome this problem, but this would create many complications such as increased switch loss, making it impractical as a solution. Class H amplifiers typically have efficiency of around 30%. Yamahas P5002 amplifier released in 1982 was an early adopter of Class H topology.
Class D Often misunderstood as an abbreviation for digital, Class D utilizes PWM, or Pulse Width Modulation. First, a PWM signal is created from the input audio signal. The power supply voltage is then switched according to the pulse width, creating a high power PWM signal to drive the loudspeaker. The elements used for the switching operation require only a minimum of voltage, allowing vast improvements in efficiency compared to previous amplifier topologies. Class D amplifiers typically have efficiency of around 60%. However, to convert the audio signal to a rectangular wave PWM signal, a high power consuming low-pass filter must be used at the output stage to eliminate pulse, or the original audio signal cannot be recovered. The audio signals frequency response, distortion, and damping factor are affected by the low-pass filter. High power PWM signals also have the side effect of emitting harmonic electromagnetic (EMC) waves within the radio frequency range of up to a few megahertz. Class D amplifiers may be convenient on the efficiency side, but often face difficulties in achieving optimal sonic quality and many manufacturers are attempting to work their way around this problem.

[ Fig.6 ] Class D operational waveform.
EEEngine EEEngine combines the sound quality of Class AB circuitry while maintaining the efficiency of Class D circuitry. Combining positive aspects of both Class AB and Class D may seem simple by concept, but it took years of extensive engineering efforts to achieve this technology on a mass production base. EEEngine overcomes problems conventional amplifier topologies while providing advantages in all areas, offering a dramatic leap in power amplifier design. It realizes efficiency that matches Class D without compromising the sound quality of a Class AB amplifier. The patented EEEngine technology is scalable and can be found on a wide range of Yamaha power amplifiers from the value class P series to the flagship TXn series. EEEngine tracks the audio signal to always provide the minimum power needed for the final output stage, allowing for surprising improvement in efficiency. It utilizes Class D operation to provide the power at the final output stage of Class AB operation. Almost all of the current energy is output as the audio signal, and just a small fraction of the remaining energy is emitted as heat dissipation through the heatsink. With the final output stage operating as Class AB, the output signal is of remarkably high sound quality. There is none of the deterioration of frequency response and damping factor or unwanted EMC, as conversion of the audio signal to a PWM signal does not take place. Plus, EEEngine is designed to operate perfectly while keeping the power amplifier heat generation to a minimum, regardless of the load requirements. All together EEEngine offers Class AB sound quality with efficiency that matches Class D. EEEngine circuitry was uprated for TXn and Tn series amplifiers with a new high efficiency electrical current buffer FET driver circuit to withstand the power and 2 ohm loads that the amplifiers will drive.
[ Fig.7 ] EEEngine operational waveform
EEEngine vs competitor technology There is one well respected amplifier manufacturer with a proprietary amplifier topology which shares the same concept of combining Class AB amplification and Class D power supply operation. Both technologies track the audio signal to always provide the minimum power required for the final output stage. Two technologies are different however, in its tracking operation methods. Signals of higher frequencies require a higher slew rate*, and are harder to track. Slew rate is a measure of the ability of an amplifier to respond to very fast changes in signal voltage. To compensate for the inability to keep up with changes in signal voltage, this competitor technology adds a delay to the input signal. This delay gives the Class D power supply more time to respond to sharp changes in voltage, but it must be noted that manipulating the audio signal will inevitably have effect on the final sonic quality. Yamahas EEEngine takes a different approach to compensate for Class D power supplys limitation in keeping up with sharp changes in voltage by adding an auxiliary high speed buffer power supply. This high speed power supply circuit is activated only when Class D power supply alone is not able to keep up with the speed. This high speed buffer mechanism allows EEEngine to respond to quick voltage changes without manipulating the audio signal and degrading sound quality. The elimination of unwanted and excessive components to the audio line is a reflection of Yamahas philosophy of delivering natural output signal that is faithful to the input signal.

* Slew rate affects the ability of an amplifier to accurately render complex waveforms at high power levels. A higher
slew rate is however, preferable only to a point. A higher slew rate will give the amplifier a wider bandwidth, and when in excess it will ultimately result in amplification of signals even in the radio frequency range. This will waste energy, create distortion and also put undesirable stress on the speaker unit.
channel amplifiers incorporating a symmetrical dual mono-amplifier design, with each mono amplifier having its own power supply. Dual mono-amp structure plays an important role in achieving separation between the two channels. Having a dedicated power supply on each mono-amplifier minimizes interference between the channels, preventing powerful bass notes on one channel from taking power away from the other channel, for example. The two power supplies operate in opposite phases, synchronizing to cancel noise and lowering electromagnetic interference.
[ Fig.8 ] Circuit of a competitor amplifier. To allow Class D power supply more time to respond to quick changes in voltage requirements, all audio goes through a delay. Effect on sonic quality cannot be avoided with this manipulation of the audio signal.
[ Fig.10 ] Dual mono-amp structure. Each channel has a dedicated power supply.
[ Fig.9 ] EEEngines High speed buffer is activated only when Class D power supply is not able to keep up with sharp increases in sound. This circuitry allows EEEngine to maintain a preferable slew rate without manipulating and degrading the audio signal.
The amplifiers are also carefully designed to suppress internal vibration within the amplifier that could have a negative impact on sound quality. The top surface of the heatsink is reinforced to reduce vibration to the power transistors that are located on top of it. The heatsink itself is fastened to the chassis side panels at numerous strategic points with special insulators that are designed to absorb vibration and chassis resonance that interfere with optimum reproduction. 2.2. Full resonance switching power supply The power supply plays a crucial role in the quality of any amplifier. Full resonance switching power supplies found on TXn, Tn and PC1N series amplifiers processes two types of switching; Zero Voltage Switching and Zero Current Switching. Full resonance power supplies provide voltage and current waveforms with natural curves, significantly reducing harmonic components from switching noise. Typical switch mode power

2. Yamaha technology

2.1. Dual mono-amplifier structure Yamaha power amplifier technology mechanical design The TXn, Tn and PC9501N series amplifiers are 2

supplies employ what is typically called hard switching, which induces more noise into the DC output and gives square waveforms rich in high frequency harmonics, requiring an additional filter to remove them. Soft switching as seen in full resonance switching on the other hand, produces natural waveforms that are desirable for music playback.
3. Behavior of the amplifier under heavy load condition
3.1. Importance of stable 2 ohm load capability Tn and TXn series were developed with the concept of stable operation under 2 ohm load. We do not necessarily suggest power amplifiers to be configured for a 2 ohm load setup. However, we recognize that stability under extreme low impedance is very important for professional use power amplifiers. For example, in the use of dual subwoofers, woofer units with nominal impedance of about 6 to 8 ohms are typically connected in parallel, giving the amplifier a load of 3 to 4 ohms. Line array speakers are also often connected in parallel, requiring stability at lower impedance. The actual impedance curve of a speaker unit is complex and its load varies greatly depending on frequency. A loudspeakers lowest actual impedance is usually lower than its nominal impedance. Because of this impedance curve, an operator may unknowingly put extreme stress to the amplifier with a source that repeatedly hits the frequencies most demanding (lower impedance) for the loudspeakers. Because an amplifier is put under extremely demanding conditions at times, it is important that there is enough headroom to keep the amplifier from clipping. When an amplifier clips, its output signal is distorted and a rectangular waveform is observed. A rectangular wave contains very high frequency and this causes voice coils of the loudspeakers to burn out. Clipping of the output signal, which may potentially destroy speaker units in the system, must be prevented in a professional audio system. An amplifiers ability to maintain stable operation at lower impedance is essential as an amplifier is more likely to clip under lower impedance.
[ Fig.11 ] Current and voltage of a typical competitor power supply. Visibly much higher noise content can be observed (circled in red). Voltage waveform shown in yellow, and current waveform shown in blue.
[ Fig.12 ] Yamahas Full-resonance switching power supply. Smooth, natural waveforms with minimum switching noise. Voltage waveform shown in yellow, and current waveform shown in blue.

3.2. Comparison of amplifiers at lower impedance situations Below are oscilloscope measurements to visualize differences in behaviors of some of the better known power amplifiers available today. The test signal is sine wave (200 cycles of 500 Hz = 0.4 sec) followed by 1.2 seconds of interval (no signal). This frequency can be found in many typical program materials, and an interval was set because continuous playback of sine waves is not realistic in actual sound reinforcement applications.
[ Fig.13 ] A typical impedance curve of a bass reflex woofer. The nominal impedance is 4 ohms but the lowest impedance is below 4 ohms.
This is a comparison of various power amplifiers in the market, all of which are rated from 2500W to 3000W at 2 ohms. Voltage gain and input levels have been carefully measured and adjusted for a fair comparison.

0.4sec

1.2sec interval

0.4sec Time

500Hz x 200 cycle sine wave Oscilloscope screen

Signal Generator

2 ohm Dummy load

Digital Oscilloscope

A+ AB+ B-
[ Fig.14 ] Set up overview
[ Fig.15 ] The input signal. The same waveform with a higher amplitude is desired for the output signal of the amplifier.
[ Fig.16 ] Output of Yamahas T5n amplifier (2500W @ 2ohms). Output signal is very true to the input signal.
[ Fig.17 ] Output signal of an amplifier, Competitor A. (2500W @ 2ohms)
[ Fig.19 ] Competitor C - Rated at 3300W into two ohms, this amplifier muted quickly after its limiter kicked in. (3300W@ 2 ohms)
The oscilloscope measurement on Fig. 17 shows strong compression-like behavior on its output signal. The output signal shows no resemblance of the input sine wave. This behavior was not seen when the amplifier was driven only on one channel, but quickly became unstable when driven on both channels. We believe this to be result of overstressing of the one power supply that supplies power for both channels.
Fig.19 shows the output signal of amplifier model, Competitor C. Though this amplifier is rated at 3300W into two ohms and specified to have the highest power of all the amplifiers in this comparison, the oscilloscope trace shows contradicting results. Its limiter kicked in, drastically dropping output voltage. Though not apparent on one still image of the measurement, it took a few seconds for the output voltage to recover, only to have the limiter activated once again shortly afterwards. This behavior repeated for the entire duration of this test. These results show that different amplifiers behave differently under low impedance operation. The results of the comparison also prove that actual performance of an amplifier cannot always be predicted from its catalog specifications. Because there are no industry standards for amplifier specifications, paper comparison of figures such as output power is not very practical. 3.3. Explanation of results of listening test

[ Fig.18 ] An oscilloscope measurement of amplifier model Competitor B. (2900w @ 2 ohms)
Fig.18 shows that Competitor B, rated 400 watts higher than the T5n at two ohms, seems to start out well but quickly loses power and its output voltage drops. This behavior was observed when the amplifier was driven on both channels.
using music source We conducted the above experiment using a music source. To replicate a more realistic setup, we replaced the dummy load on one channel with four loudspeakers connected in parallel. To reduce interference between the four loudspeakers and also to reduce stress on our ears, we verified our results from one reference loudspeaker; the remaining three loudspeakers were placed in a remote location. The results of this listening test were basically
reproductions of the oscilloscope measurements. The kick drums on Competitor A were heavily distorted, extremely harsh on the ears and harmful to the loudspeakers as well. Its playback level fluctuated after the kick drum, as was observed in the oscilloscope measurement. Competitor Bs output was considerably distorted when louder notes were repeated. The amplifiers limiter kicked in on Competitor C after the kick drum beat.
The amplifier muted for a few seconds before returning. This limiter may protect the amplifier from damage, but this behavior is unacceptable in a live situation. Yamahas T5n showed positive results in this test. The T5n showed minimal limiting and had the most headroom among the competitors. The amplifiers output did show slight distortion when levels were high, but the playback remained musical and had the best performance in this comparison.
[ Fig.20 ] Listening test set up
P.O.BOX 1, Hamamatsu, Japan http://www.yamahaproaudio.com

Yamaha Supports an Open Architecture Design for Network Audio
Generally speaking, different network audio formats are mutually incompatible, and once your system has been deployed, changing the format used can be a major undertaking. Requiring not only the replacement of network devices, this may also call for reinstallation, or even worse, complete rebuilding of your facility. It goes without saying, therefore, that format selection before deployment is the most critical factor. To reduce the level of associated risk, Yamaha pro audio devices can be tted with MY cards in order to support practically all I/O formats. Thanks to this open architecture design, systems can be designed with a higher degree of exibility. Individual Yamaha pro audio devices can handle as many different formats as they have MY card slots; accordingly, devices with two or more such slots can be used to interface between audio networks of different formats. Already operating as format converters in many different environments, Yamaha pro audio devices add more exibility to the design and planning of network audio systems.
On the Yamaha Professional Audio site, you can visit the I/O Card Matching page in order to determine the number of MY cards that can be used with each model, conditions applying to their usage, and other important information. For more information, please use the following URL:
KEY POINT 1: Required Number of Channels and Network Topology
As in the design of an analog mixing system, rst examine the total number of I/O channels needed, the physical arrangement of I/O devices, and physical signal routings. Based on what you nd, consider how the various network audio formats would suit your needs. Formats vary in terms of the number of I/O channels supported, possible routing patterns, and network topology (that is, how devices can be connected within the network); furthermore, topologies also differ from each other in terms of connectivity, expandability, and their level of protection against network failure. That said, however, certain formats can support two or more different topologies. Since the physical arrangement of devices depends greatly on the topology selected, it is important to also consider the relative importance of connectivity, expandability, and reliability in terms of your network audio system.

(*Maximum transmission distances depend on cable quality. For more details, please visit http://www.ethersound.com)

Network audio protocols

Ethernet-based Proprietary CobraNet, EtherSound, etc. AVIOM, Optocore, LightViper, etc.

Ethernet-based protocols

Ethernet-based networks are congured using standard Ethernet devices such as switches and media converters, and therefore, a wide range of options are available, even on a tight budget. Using advanced Ethernet functions such as VLAN (virtual LAN) and STP (spanning tree protocol), furthermore, signals other than audio can also be transferred over these networks. The establishment of redundancy in networks as protection against localized failure is also fully supported, although this may require a higher level of networking expertise in device selection and system conguration.

Proprietary protocols

Audio networks congured using proprietary protocols employ dedicated devices and procedures, and as such, can deliver time savings when it comes to device selection and system conguration. With user convenience in mind, proprietary products are often developed for specic applications, which gives rise to both advantages and disadvantages. Even if such solutions are initially perfect for your system, they may later prove inexible or present compatibility problems upon expansion, however small. Generally speaking, systems congured using dedicated devices are relatively costly.

EtherSound Topologies

Daisy Chain Conguration
Devices downstream of an End Loop will receive, but not transmit data.
KEY POINT 4: Compatibility Information
Once format and basic topology have been settled, the network peripherals required to congure the basis of your audio network must be determined. Depending on your system requirements, such devices can include Ethernet switches for extending or branching Cat5e cables and media converters for interchanging Cat5e and optical-ber cables. Popular network peripherals, which may realize a higher level of compatibility, may be available from your system vendor. In the majority of cases, however, devices from various different manufacturers are used to congure network audio systems. Accordingly, it is important to conrm that the devices you intend to use are free of compatibility issues. Today, many manufacturers and vendors publish such information on their websites. It is a good idea to regularly check this product, support, and compatibility information before nalizing your design.

Example: Rear panel of PM5D-RH Digital Mixing Console
Slot 4: MY16-EX (Slave 3) Slot 3: MY16-EX (Slave 2)
DME Satellite ES Series for EtherSound
Fitted with high-quality mic preamps supporting HA Remote, Yamahas DME Satellite ES series make it possible to add analog inputs, outputs, or both to low-latency EtherSound networks. Specically, the DME8i-ES adds 8 analog inputs to an EtherSound network; the DME8o-ES, 8 analog outputs; and the DME4io-ES, 4 analog inputs and 4 analog outputs. The ES series can also send and receive 16 channels of digital audio on EtherSound networks and provides a host of advanced signal-processing functions. For example, this functionality could easily be applied to operate a DME8o-ES as a speaker processor, controllable via the network. Control of these signal processors is achieved using the PC application DME Designer, allowing a wealth of audio-processing components such as EQ, crossover, and delay to be freely and intuitively congured. Furthermore, with Remote (RS-232C/RS-422), GPI, and Ethernet connectors also included as standard, many other types of control are also supported.
Slot 2: MY16-EX (Slave 1) Slot 1: MY16-ES64 (Master)

DME8i-ES 8 analog inputs

DME Satellite adding 8 analog input channels to EtherSound networks.
*Shielded Twisted Pair (STP) cables The LAN cables generally referred to as Ethernet cables come in two different types namely, UTP (twisted pair) and STP (shielded twisted pair). Shielded twisted pair cables protect signals from external noise, thus allowing faster communication speeds. As these cables feature a built-in shield, furthermore, the devices and systems connected using them must be grounded. We recommend that STP-type, straight LAN cables of Cat5 or better be used with the MY16-EX.
DME8o-ES 8 analog outputs
DME Satellite adding 8 analog output channels to EtherSound networks.
DME8i-ES/DME8o-ES/DME4io-ES Front Panel
DME4io-ES 4 analog inputs and 4 analog outputs

Network Audio Interface

DME Satellite adding 4 analog input and 4 analog output channels to EtherSound networks.

DME8i-ES Rear Panel

NAI48-ES
Offering up to 48 I/O channels, the NAI48-ES can be used to interface between EtherSound and AES/EBU. This advanced device can also exchange word clock signals and supports connection of a redundant power supply for failsafe operation. Whats more, HA Remote control signals can be exchanged together with digital audio data via Cat5 cables. This functionality and performance makes the NAI48-ES the perfect choice for stage boxes. 1

Rear Panel

1 Network connector
100Base-TX/10Base-T Ethernet connector for connecting to a computer or another DME unit.

3 GPI connector

Euroblock connector for input and output of control signals. Provides 8 channels of input and 4 channels of output.

2 Remote connector

D-sub 9-pin connector for connecting to devices supporting HA Remote and external RS232C/422 compatible controllers.
4 Analog input connectors
Euroblock-type input connectors.

AVS-ESMonitor

AVS-ESMonitor is an application for Windows XP or Vista that can be used to set and monitor devices within EtherSound audio networks. Developed by AuviTran, this application can be downloaded free of charge from the companys web site. EtherSound networks feature devices connected together in series in a daisy-chain conguration in specic terms, the Out connector of each device is connected to the In connector of the next device in the network. The rst device in the daisy-chain is referred to as the Primary Master, and the PC running AVS-ESMonitor is connected to this unit's In connector. The application then automatically detects all EtherSound devices in the network and displays them onscreen. In specic terms, AVS-ESMonitor identies the manufacturer ID, the model ID, the model name, and the corresponding number in the connection sequence for each networked device. Additional information on each device can be assessed by opening its Property screen.
NAI48-ES Primary Master MY16-ES64 IN OUT End Loop IN NAI48-ES
(End Loop set at final unit permitted to transmit data upstream)

AuviTran

Based in France, AuviTran was established around a core of staff members from Digigrams EtherSound product development department. Applying specialist expertise and know-how, the company is focused on the development of solutions using EtherSound technologies.
AVRed-ES Series of EtherSound Redundant-Link Management Units
The AVRed-ES series provides a range of EtherSound redundant-link management units in a compact 1U rack size. These units ensure highly stable EtherSound connections using two redundant links. Offering a choice of Cat5 cable connectors or optical-ber cable connectors for input and output, the series adds support for a range of different systems.

AVRed-ES

Support for EtherCon connectors

OUT IN MY16-EX MY16-EX

Live Rec

AVRed-ES/FoSC

Support for optical SC duplex connectors
Laptop PC (AVS-ESMonitor)

AVRed-ES/FoNeutrik

Support for OpticalCon connectors
PM5D Select the device to be set from the network view on the left of the screen

AVRed-ES/FoFibreco

Support for Fibreco ber-optic connectors

AVS-ESMonitor screen

EtherSound Network Matrix

AVM500-ES

Coming in a compact 1U rack size, the AVM500-ES provides an EtherSound network matrix for simultaneously linking and routing of up to ve EtherSound networks, each with 64-in / 64-out channels. As such, this device can be used to congure an audio matrix with as many as 320 inputs and 320 outputs. In large scale systems, furthermore, multiple AVM500-ES units can be distributed or joined together in a ring to create an EtherSound network with functional redundancy for guaranteed stability.

Automatic detection

Digigram
Digigram was established in 1985, initially developing professional sound cards for PCs. And while developing and marketing a wide range of PC sound cards, network devices, and software, the company also worked on customizing the Ethernet protocol for using with network audio. In 1999, Digigram introduced the rst audio network products utilizing Ethernet technologies a solution that it christened EtherSound. Since then, the number of manufacturers adopting EtherSound technology has grown steadily, making it one of the most commonly used protocols in todays digital audio networks. At Yamaha and at many other manufacturers, advanced EtherSound-compatible devices are being continually designed and developed. EtherSound PCI Sound Card EtherSound PCI Sound Card
Tab views showing settings and other details for the selected device (right of screen) Tab views
In AVS-ESMonitor, tab views are used to display information on the device selected from the network view on the left of the screen. Properties tab As the name suggests, this tab displays the general properties of the selected device. In addition, the Audio Setup area can be used to set the sampling rate, number of channels, and other parameters. Network Routing tab (Net Patch) Signal routing for the entire network can be displayed by selecting the Net Patch tab. Here, signals ow from the sources listed at the top to the receivers listed along the left-hand side. Routing tab (I/O Patch) In the Routing tab, EtherSound channels can be assigned to the selected device. Output channels are displayed on the top; input channels, on the bottom. Using these grids, signal transmission and reception settings can be made for each device. In addition, this tab can also be used to set an End Loop. Control tab If specic controls apply to the selected device, they can be set using the Control tab. If, for example, an MY16-ES64 expansion card is selected, you can use this tab to set HA Remote parameters for connected AD8HRs and to also set the slot on the digital mixer tted with the card.

Setting procedure

With the network already having been correctly congured, launch AVS-ESMonitor and conrm that all connected devices are detected and correctly recognized. In order to enable communication between a digital mixer tted with an MY16-ES64 card and an NAI48-ES, settings for the NAI48-ES are performed rst, followed by settings for the MY16-ES64. To begin, select the NAI48-ES from the list displayed in AVS-ESMonitor, and then display the Control tab. Within the Serial Communication Mode area, turn on the Unicast radio button, and from the drop-down list on the right, select the card with which signals are to be exchanged.

Mics 17-24 Mics 25-32

Mics 1-8 Mics 9-16
To monitor-speaker power amps
The next step is to setup the card. In the same way as above, select the MY16-ES64 from the list displayed in AVS-ESMonitor, and then display the Control tab. Within the AD8HR Remote Option area, select Mode 2 if controlling from an LS9 Digital Mixing Console or Mode 3 if controlling from a PM5D V2 or M7CL Digital Mixing Console or from a DM1000 VCM or DM2000 VCM Digital Production Console.
To main-speaker power amps
By designating this SB168-ES as the End Loop, any problems occurring with the DAW during live recording can be prevented from adversely affecting the on-stage devices (or more specically, the End Loop unit and all devices located upstream from it). (For more details, please turn to Setting an End Loop in the AVS-ESMonitor section.)
Finally, these settings must be stored in the internal memory of the connected devices. To do so, click the Save icon located in the AVSESMonitor tool bar. Successful writing to memory will be conrmed by an on-screen message.
Stores settings within all of the connected devices Stores settings within the currently selected device only

F.O.H Console

The M7CL-32 features 16 mix buses that can be used either as group or auxiliary buses, in addition to eight matrix buses. As the matrix buses can also receive signals from the input channels (using the Input to Matrix function), you essentially have 16 + 8 AUX buses at your disposal for sending sub-mixes to sidell monitors, recorders, dressing rooms, and the like. Whats more, all output buses including the matrix buses feature a four-band PEQ and channel-specic dynamics as part of a full line-up of audio processors.

Equipment List

Manufacturer A B C D E F G Yamaha Equipment Digital Mixing Console EtherSound Interface Card I/O Expansion Card Stage Box Rack-mount PC Cat5 Cable (with Drum) PCI Sound Card for Cubase (DAW) Model M7CL-32 MY16-ES64 MY16-EX SB168-ES LX6464ES Qty. 1 Note
Cat5e cable Cat5e cable (STP only) HA Remote (D-sub 9-pin) Analog
After setting up EtherSound equipments, the settings should be saved onto the hardware. If the power of the equipment is turned off without them being saved, the equipments will be reset to the last settings congured by AVS-ES Monitor.

Digigram

Large Live SR
In this case study, EtherSound is used to realize a sound-reinforcement solution for a large concert requiring 48-in / 32-out channels. One major difference with respect to the previous example of the mid-sized concert is the addition of a PM5D-RH V2 Digital Mixing Console on-stage for monitor mixing. Utilizing the NAI48-ES to its full potential, Y-type cables are connected to the AES/EBU connectors in order to separate input and output signals, making it possible for an AD8HR (input) and DA824 (output) to be used simultaneously. The two stages boxes located on either side of the stage are connected via their NAI48-ES units, and the HA Remote connectors on the AD8HRs are also connected in sequence using D-sub 9-pin cables; accordingly, the gain settings of all head ampliers in the network can be centrally controlled from the monitor mixer. Regardless of the size of the event, system monitoring and setting can be easily carried out using AVS-ESMonitor. As a result, setup time can be reduced signicantly when compared with an analog-only conguration. And with the live-recording equipment at the terminating end of the EtherSound network also located on stage, all related operations can be conveniently carried out by the monitor mixing engineer.

Stadium

Primary control and processing for the entire venue are handled by a PM5D-RH Digital Mixing Console. Music sources and wireless microphone reception equipment are also located in the control room. The PM5D-RH is tted with MY16-ES64 digital networking cards that connect via standard Ethernet cables to the nearest of ve switch/media converters located around the stadium. From there optical cables connect to the other four switch/media converters so that no degradation of the audio signals can occur even over the extremely long distances involved. Each of the ve strategically located switch/media converters directly feeds output systems consisting of two TX4n power ampliers driving four IF3115 3-way speaker units. The TX4n ampliers are tted with MY16-ES64 or MY16-EX digital network cards allowing direct Ethernet connection from the switches. All speaker processing required for precise output tuning is built right into the TX4n power ampliers, so no further output equipment is necessary. Each switch/media converter is also linked via Ethernet to one or more satellite DME8i-ES units for remote microphone input capability (up to eight inputs per DME8i-ES unit).

Switch & Media Converter

Monitor Console Mics 1-8

H A D E E E G G F F

Mics Mics Mics Mics Mics

D E E E G F
To Power Amplifiers, Speaker Processor
Mics 9-16 Mics 25-32 Mics 17-24 Mics 33-40 Mics 41-48

Wireless Mics

By designating this NAI48-ES as the End Loop, any problems occurring with the DAW during live recording can be prevented from adversely affecting the on-stage devices (or more specically, the End Loop unit and all devices located upstream from it). (For more details, please turn to Setting an End Loop in the AVS-ESMonitor section.)
Switch & Media Converter Switch & Media Converter

Control Room

The PM5D-RH V2 features 24 mix buses that can be used either as group or auxiliary buses, in addition to eight matrix buses. As such, as many as 24 buses + 8 matrix buses can be made available. Whats more, all output buses including the matrix buses feature an four-band PEQ and channel-specic dynamics (with the exception of gates) as part of a full line-up of audio processors.

G C B C H

Laptop PC (NetworkAmp Manager II Installed)
Optical cable Cat5e cable Cat5e cable (STP only) D-sub 25-pin (male) cable HA Remote (D-sub 9-pin) Analog

C D D A E

Processor & Amp
AES/EBU Connector Pin Assignment of NAI48-ES

Speaker

A B C D E F G H I J K

Manufacturer Yamaha

AuviTran Neutrik Digigram
Equipment Digital Mixing Console EtherSound Interface Card I/O Expansion Card Network Audio Interface ADC/8ch Remote PreAmp DA Converter Digital I/O Card Redundant Link Unit Rack-mount PC Optical Cable PCI Sound Card for NUENDO (DAW)
Qty. Model PM5D-RH VMY16-ESMY16-EX 4 NAI48-ES 2 AD8HR 6 DAMY8-AE 3 AVRed-ES/FoNeutrik Opticalcon/2 pole 2 LX6464ES 1

Pin 9 10

Connection CH1/2 IN + CH3/4 IN + CH5/6 IN + CH7/8 IN + CH1/2 OUT + CH3/4 OUT + CH5/6 OUT + CH7/8 OUT + GND

Pin 19 20

Connection GND GND CH1/2 IN CH3/4 IN CH5/6 IN CH7/8 IN CH1/2 OUT CH3/4 OUT CH5/6 OUT

Pin 25

Connection CH7/8 OUT GND GND GND GND
Manufacturer A B C D E F G Yamaha Equipment Digital Mixing Console EtherSound Interface Card I/O Expansion Card CD Player Power Amplifier Speaker Audio I/O & DSP Expansion Unit Model PM5D-RH MY16-ES64 MY16-EX TX4n IF3115 DME8i-ES Qty. 5 Note

No redundancy for extra portability
Nippon Television Network Corporation
Nippon Television Network Corporation (NTV) is a major Japanese television network, broadcasting nationwide and boasting approximately 30 afliate stations. In May 2008, NTV employed a number of Yamaha DM-series mixing consoles in its live broadcasting of the World Ladies Championship Salonpas Cup one of the major golf tournaments for women on the Japan LPGA Tour and held at Tokyo Yomiuri Country Club. For digital connections between DM2000 and DM1000 mixing consoles within the broadcast center, NTV selected MADI. The signal transfer system was congured by providing the main DM2000 and each of three DM1000 consoles with an MY16MD64 master MADI interface card and an MY16-EX slave I/O expansion card. Signals from the DM2000 were transmitted along coaxial cabling to an RME MADI Bridge, where they were relayed and distributed to the three DM1000 consoles, creating a simple but reliable 32-channel distributed digital-audio transfer system.

H I H I B B E F J

Cascade Connection C
Manufacturer A Yamaha B C D E F G H I J K RME L M Equipment
Digital Mixing Console Digital I/O Card Digital Mixing Console Digital Mixing Console MADI Interface Card I/O Expansion Card ADC/8ch Remote PreAmp DA Converter Digital I/O Card Digital Mixing Engine MADI Switcher/Router MADI Converter MADI PCI Express Card
PM5D V2 MY16-AE DM2000VCM M7CL-48 MY16-MD64 MY16-EX AD8HR DA824 MY8-AE DME64N MADI Bridge ADI-6432 HDSPe MADI
Optical cable Coaxial (up) cable Coaxial (down) cable Cat5e cable AES/EBU (D-sub 25-pin) HA Remote (D-sub 9-pin)

Quality Control

Quality is one of those little words that covers a lot of ground. It can mean different things to different people at different times, but at Yamaha it applies to a whole spectrum of concepts that form the backbone of a uniquely conscientious approach to product development and manufacture. Sonic quality, although it is often the rst aspect that comes to mind, is only the beginning. Reliability and durability are just as important, and are in many ways more difcult to achieve with any degree of consistency. Then of course theres safety, both personal and environmental, to which an extensive gamut of important standards apply. Unique to electronic devices is the need to prevent electrical interference, both incoming and outgoing, which is an area that requires an extraordinary level of skill combined with advanced facilities for effective management and control. And quality management must continue even after the product is sold, in the form of support and service. To achieve the kind of quality that satises all conditions all of the time requires focused, unrelenting attention to detail and control right from initial product planning and design through nal manufacture and packaging to post-sales support. It is not a simple task, and requires a dedicated organization and infrastructure for effective implementation. This is where many manufacturers fall short, but is where Yamahas commitment to delivering unequalled quality in all areas is overwhelmingly clear. And the fact that the Yamaha approach works is evident in an outstanding track record and enviable reputation.

Cable Durability Testing Non-destructive X-ray Tomography
The Yamaha Quality Support Center
Near the entrance to one of Yamahas main ofce and factory complexes stands an imposing, almost windowless structure that is a vital arm of Yamahas Quality Management System. The Quality Support Center is a world-class testing laboratory that houses some of the most advanced and sensitive testing facilities for electronic devices available anywhere, plus some tortuous durability tests that are almost shocking in their severity.
Computer-controlled Vibration Table
Encoder Durability Testing

Small-item Drop Test

Product Line Up

Digital Mixer

PM5D V2, PM5D-EX
A new breed of the PM5D V2, a de facto standard SR console comes equipped with more expandability.
Capable of high-speed 96-kHz processing, the PM5D V2 digital mixing console supports mixing of 48 mono and 4 stereo inputs, 24 mix busses and 2 stereo outputs, and 8 matrix channels (optionally expandable); furthermore, it also provides additional DSP features in the form of 8 audio effects and 12 GEQs. The current V2 lineup includes the standard PM5D and the PM5D-RH, which can also save and recall headamp settings; furthermore, the PM5D can be combined with a DSP5D mixing engine to realize a highly scalable PM5D-EX mixing system.

PM5D V2 Features

In the PM5D V2 these features have been rened and optimized for live sound, with emphasis on fast, easy access.

VIRTUAL SOUNDCHECK

When performing a sound check, the new VIRTUAL SOUNDCHECK option lets you change input patches in the currently recalled scene temporarily, without permanently affecting the input patch conguration stored with that scene. With a simple click you can instantly switch from your mic sources to your playback tracks or even a mixture of both; this proves really useful for rehearsals.
can increase the number of GEQs available to a maximum of 20 from the default 12.
Additional ADD-ON EFFECTS
Yamaha VCM (Virtual Circuitry Modeling) technology-based AE-011 (Compressor 276/276S, Compressor 260/260S, Equalizer 601) and AE021 (OPEN DECK) add-on effects are included as standard on the PM5D V2.
Changeable output patching to MIX OUT
You can now change output patching to MIX OUT connectors 1 through 24. Even when the cables are connected in a different conguration to the channel assignments in the current scene or in scene memory, you can change the patch state of the MIX OUT connectors to get the right connections without having to re-connect cables or replace one channel data to another.

Other features

LOAD LOCK Monitoring and cue level control from STEREO and/or DCA strip sections Channel move Additional USER DEFINED KEYS functions ON/OFF parameters for the RECALL SAFE and SELECTIVE RECALL functions.and more. Please refer to Yamaha web site: www.yamahaproaudio.com

The Channel Strip plug-in includes 5 models that employ VCM (Virtual Circuitry Modeling) technology to recreate the sound and characteristics of several classic compression and EQ units from the 70s. Not only do these models faithfully capture the unique saturation of analog circuitry in part thanks to precise modeling of the original FET gain reduction, tube/transformer buffer amplier, VCA (Voltage Controlled Amplier) and RMS detector circuits but they have also been ne-tuned by leading engineers and feature carefully selected parameters in a simple interface that makes it easier than ever to create the ideal sound.
Compressor 276 (mono), Compressor 276S (stereo)
These models recreate the fast response, frequency characteristics, and tube-amp saturation of the most in-demand analog compressors for studio use, delivering classic style compression with all the punch and fatness youd expect from a ne piece of studio grade analog gear. Not limited to processing drums and bass, these compressors are also an excellent choice for vocals and master stereo mix compression.

Compressor 276S (stereo)

Compressor 260 (mono), Compressor 260S (stereo)
DM1000VCM 01V96VCM DM2000VCM
Featuring faithful modeling of the solid-state voltage-controlled amplier and RMS detection circuitry of the late 70s, these plug-ins bring back the sound of classic comp/limiters used primarily for live sound reinforcement applications. They offer three selectable compression knee types hard, medium, and soft and although variable attack and release are provided, presets recreate the xed settings of the vintage gear.

Compressor 260 (mono)

Equalizer 601

02R96VCM

Comparison Chart
DM2000VCM Input (Mixing Capacity) Mic Input (Head Amp) Bus Matrix MY Card slots Faders Multi Effects/Graphic EQ Dimensions (W x H x D) Weight
96 in@96 kHz 24 (XLR/TRS) 8 mix buses, 12 AUX, Main ST Bus 4 Stereo 6 24+1 8/x 257 x 821 mm (35.7" x 10.2" x 32.3") 43.0 kg (94.8 lbs)
The 601 equalizer offers two equalizer types: Clean and Drive. The Drive type models the distortion characteristics of 70s analog EQ circuitry, delivering musical-sounding drive and saturation. The 601 is a stereo six-band parametric equalizer with LO and HI shelving lters and four MID peaking lters, and it accurately reproduces both the boost and cut frequency response and band interaction of vintage analog gear. And you get EQ capability over a wide 16Hz 40kHz range when operating at 88.2/96kHz. The 601 features a familiar knob style interface as well as graphical editing capability.

DM1000VCM

48 in@96 kHz 16 (XLR) 8 mix buses, 8 AUX, Main ST Bus 2 16+1 4/ 436 x 200 x 585 mm (17.2" x 7.9" x 23.0") 20.0 kg (44.1 lbs)

VINTAGE PHASER

Rather than a simulation of a specic phaser, this model has been designed to deliver the best qualities of the most sought after classic phasers in one versatile plug-in. Different mode settings transform this effect into dramatically different phaser types. Stereo and mono versions are provided.

48/96 kHz

16 IN/OUT

MY4-AD

Engineer Interviews

Snake Newton

FOH engineer, currently working for Duran Duran. Also worked for Craig David and Pet Shop Boys. When I am not on the road, much of my time is spent in front of a studio based around multiple Macs running Cubase SX. If these components are the heart and brain of the studio then the myriad of VST plug-ins that I use are its life blood. Now Yamaha, with a remarkable set of new effects, have brought live mixing a big step closer to this exibility. The ability to choose a vintage type compressor or EQ with the click of a mouse is taken for granted in the studio. This is nally within reach thanks to the new range of plugin type of effects from Yamaha!

MY8-AE96

AES/EBU 44.1~96 kHz

DA card

MY8-DA96

DA 96 kHz

Rick Pope
PM1D: 2001 tour with Jamiroquai PM5D with Clear Channel, doing instant live recording directly to CD, rst started using the new effects then. Now using PM5D (&DM1000) for Jamiroquais tour. I use Open Deck all the time as a nalizer. We dont have time to do proper nalizing with Clear Channels live recordings, so the Open Deck gives it that nished result. Sounds like its mastered off a half-inch. Ive tried all the types, and they are very subtle differences. I tend to use Swiss 85. You can really notice the difference between new and old tape. The Old Tape setting really sounds as if its been through the heads several times.

Steve Levine

Recording and mixing engineer, worked for many artists including Culture Club, The Beach Boys, Honeyz, and Gary Moore. I am very impressed with the new REV-X reverbs. These reverbs sound so good, a match for any current hardware reverb unit the REV-X Room simulation is the best room sound I have heard since the famous Quantec room simulator.

MY8-AE96S

8 IN/OUT with Sampling Rate Converter 8 IN/OUT

MY4-DA

DA 44.1/48 kHz

MY8-AE

*1: In 96-kHz operation mode, cards operate with 48-kHz double channels (interleaved), and therefore, channel availability is reduced to 8 inputs and 8 outputs). *2: Expandable to up to 64 inputs and 64 outputs when combined with MY16-EX cards.
The following cards are also available from third parties.

Signal Processor

Digital Mixing Engine

DME64N

Programmable, Networkable Mixing Engines for a Range of Audio Processing Applications

Manufacturer

A B C D E F G H I Manufacturer Yamaha Equipment Digital Mixing Console ADC/8ch Remote PreAmp DA Converter Digital I/O Card Digital Speaker Processor 16ch MY card for YAMAHA (Master) 16ch MY card for YAMAHA (Slave) Digital Stage Box Hand Reel for FiberOptic Cable Model Qty. M7CL-AD8HR 4 DAMY8-AE 1 SPVIM-MY32MLC 1 VIM-MY32S 1 VIS-REL-RNote
Optical cable HA Remote (D-sub 9-pin) Analog Mini-con cable
Manufacturer A B C D E F G H I Yamaha
Equipment Digital Mixing Console ADC/8ch Remote PreAmp DA Converter Digital I/O Card 16ch MY card for YAMAHA (Master) 16ch MY card for YAMAHA (Slave) Digital Stage Box Hard Reel for FberOptic cable Optical Connector Converter
Model M7CL-48 AD8HR DA824 MY8-AE VIM-MY32MLC VIM-MY32S VIS-4832 REL-R380 VPL-11

Qty. 1

Optical cable D-sub 25-pin (male) cable HA Remote (D-sub 9-pin) Analog Mini-con cable Word clock
New Record Plant Remote Ninety-Six Cubed Audio Production Suite Goes LightViper
Annapolis Junction, MD, October, 2007 FiberPlex, Inc., announced that their LightViper audio transport system was recently installed in the new Record Plant Remote audio production vehicle. A total of 96 channels of ber optic digital audio transport are available. The rst location assignment for the Ringwood, NJ-based companys new truck was in mid-town Manhattan for the last broadcast of ABC Televisions Good Morning America summer outdoor concerts in Bryant Park, NYC. Record Plant Remote production vehicles have handled the ABC morning shows May through August live music performances since 2001. In addition to the plug n play LightViper ber optic audio snake system, the production vehicle is equipped with two Yamaha DM2000 digital consoles with 48 channels each. Both consoles operate at 96kHz with all 96 inputs and there is also 96 channels of Tascam X-48 hard disk recording available. The new Record Plant Remote vehicle is the rst of its kind in that it is built as an audio production facility from within a luxurious 40 foot touring motor home, rather than the standard tractor/trailer type big rig. Kooster McAllister, Owner and Chief Audio Engineer for Record Plant Remote, offered some insights into his decisions on equipping the new audio vehicle: Im thinking of calling the new truck Ninety-Six Cubed since its the only pro audio production facility on wheels that features a full 96kHz on 96 digital inputs to 96 simultaneous digital recording tracks. For many of the large gigs and high-prole artists we handle, being able to instantly set-up a huge number of inputs was also absolutely critical. The LightViper ber system gives me full control of the Yamaha remote mic-pres right from the twin consoles in the vehicles control room. This capability coupled to the consoles ability to do full snapshot audio set-ups, is one of the main reasons I went with the Yamaha/LightViper combo. McAllister, a winner of six TEC Awards for his live recording work, continued: The audio gear choices were really no-brainers for me. The highest sound quality I could get was the de facto decision. That being said, the fact that set-ups and teardowns now take, literally, a fraction of the time that we used to spend on schlepping and repairing old-school copper snakes runs a close second!