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Yamaha PM5D-pm5d-rh V2 Manual

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Yamaha PM5D-pm5d-rh V2 Pm5dv2 Editor Installation Guide

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User reviews and opinions

Comments to date: 7. Page 1 of 1. Average Rating:
djantie 5:10am on Friday, September 3rd, 2010 
Smashing it, especially since it was free from my telecommunications company. iPhone competition, 5.0MP camera, video recorder. Upgradeable storage. I had thought of buying this phone ever since it was announced in June of 2009 and finally got around to getting it and I am glad.
gollum_arl 4:33pm on Thursday, August 26th, 2010 
I love this phone! This the best phone ever! It does anything and everything. I think of it as the new and improved i phone. First of all, let me start by saying that this was the best Christmas gift that I could have gotten.When you purchase this phone.
imagopersei 3:06pm on Tuesday, August 24th, 2010 
Uniquely frustrating to set up This phone seems to combine a lot of promise with above average frustration. Hardware-wise, it is feature-packed. Quality issues with HTC Android is excellent. However the touch screen on the HTC Hero broke in 6 months of purchase. Also had a HTC Touch.
Test 9:13am on Tuesday, June 15th, 2010 
Simply put, I have never owned a lower quality, more frustrating electronic device ever. This thing has the ability to make a calm.
michaelgoerz 2:19pm on Tuesday, June 8th, 2010 
I received this case in the mail today. When I opened the package. had what I wanted, price was right, shipping was speedy and effortless. A bit looser than I was expecting, which keeps this from being a 5 star review. Still a great cover for this phone.
Craig Connell 5:17pm on Tuesday, May 11th, 2010 
I was extremely excited when I first received this phone. It was really easy to use and there was lots of great apps for the phone, often times free. The HTC Hero is a great phone. I have loved this phone since the day I got it.
secoinc 11:23pm on Tuesday, April 27th, 2010 
Its been about a month since I dumped the Palm Pre and got with the Hero from HTC (how cliche, right?). So, after over a year of living and loving my Blackberry Curve I was itching for a new phone. A part of me lusted for an iPhone.

Comments posted on are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.




PM5D Version2

Digital Mixing Console

PM5D Rear Panel


PM5D-RH Rear Panel
The PM5D and PM5D-RH Digital Mixing Consoles take the digital revolution to the next level.
The PM5D features standard high-performance head amps, while the PM5D-RH adds head-amp recall capability that allows
head amp gain settings to be recalled along with the other console scene data.
48 mono and 4 stereo inputs, 24 mix buses and 2 stereo outputs, and 8 matrix outputs (expandable). Custom DSP7 LSI for ultra-high-speed 96-kHz/32-bit processing. I/O capacity and functionality can be doubled or tripled by adding one or two rack-mountable DSP5D Digital Mixing Systems. Easy virtual soundcheck with individually assignable channels does not require complex re-patching. Built-in VCM (Virtual Circuit Modeling) effects offer impeccable simulations of classic signal processing gear. 8 high-performance multi-effect processors and 12 graphic equalizers built in. Enhanced security features keep the system operating flawlessly in any application.


Gooseneck Lamp


Digital Mixing System


Power Supply Unit

Rear Panel

Digital Cabling Unit
The PM5D is reliably powered by an external power supply unit. The PW800W is extremely compact and lightweight (3U, 10kg). Thanks to its high efficiency, the low speed cooling fans are extremely quiet. Two PW800W units can be serially connected using optional PSL120 cable for failsafe operation. PW800W accepts 100 - 240 volts so it can be used anywhere.
* Please refer to the DSP5D/DCU5D datasheet for more details.


Power Consumption Dimensions (W x H x D) Weight Included Accessories Temperature Operating Renge Storage
1000W 480 x 142 x 384mm (18.7" x 5.5" x 14.98") 10kg (22lbs) Power cord, Cord clamp, Owner's Manual 10C--35C --20C--60C

Power Supply Link Cable


unit : mm

132 10

378 384

Internal processing Number of scene memories Sampling frequency rate 32bit (Accumulator=58bit) 500 Internal: E x ter n al: Signal Delay PM5D: 44.1kHz, 48kHz, 88.2kHz, 96kHz 44.1kH z ( -10% ) to 48kH z( +6% ) 88.2kH z ( -10% ) to 96kH z ( +6% ) Less than 2.3 ms INPUT to STEREO A,B (@fs = 48 kHz) Less than 1.15 ms INPUT to STEREO A,B (@fs = 96 kHz)
Input terminal PAD GAIN -60dB -16dB -34dB +10dB 3k 4k 10k 10k 3k Actual load impedance For use with nominal 50-600 Mics & 600 Lines 600 Lines 600 Lines 600 Lines 50-600 Mics & 600 Lines Input level Sensitivity -80dBu -36dBu -10dBu -54dBu -10dBu -16dBu -6dBu (-12dBu) -60dBu Nominal -60dBu -16dBu +10dBu -34dBu +10dBu +4dBu +4dBu (-2dBu) -50dBu Max. before clip -40dBu +4dBu +30dBu -14dBu +30dBu +24dBu +24dBu (+18dBu) -30dBu Connector
XLR3-31 type* XLR3-31 type* TRS Phone Jack* XLR3-31 type* XLR3-31 type*
P M 5D -R H : L es s th an 2.5 m s I N P U T to S T E R E O A ,B ( @fs = 48 kH z) Total harmonic distortion *1 CH Input to STEREO OUT Input Gain=Min. Less than 1.25 ms INPUT to STEREO A,B (@fs = 96 kHz) Less than 0.05%, 20Hz to 20kHz @+14dB into 600 Less than 0.01%, 1kHz @+18dB into 600 (@fs = 48 kHz) Less than 0.05%, 20Hz to 40kHz @+14dB into 600 Less than 0.01%, 1kHz @+18dB into 600 (@fs = 96 kHz) Frequency response Dynamic range 20Hz to 20kHz, 0.5, -1.5dB, @44.1kHz, 48kHz 20H z to 40kH z, 0.5, -1.5d B , @88.2kH z, 96kH z 110dB typ, DA Converter (STEREO OUT) 108d B ty p , A D +D A ( to S T E R E O O U T ) ( @fs = 48 kH z) Hum & noise level *2 Crosstalk (@1kHz) Input Gain=Min. Power requirements Power consumption Dimensions (W x H x D) Weight 106d B ty p , A D +D A ( to S T E R E O O U T ) ( @fs = 96 kH z) -128dB equivalent input noise -86d B r es id u al o u tp u t n o is e -100dB*3, -80dB adjacent input channels -100dB*3, -80dB input to output Refer to PW800W power requirements Refer to PW800W power consumption 1551 x 283 x 950mm (61" x 11.1" x 37.4") P M 5D : 98.0kg ( 215lb s ) P M 5D -R H : 97.0kg ( 213lb s ) *1. Total harmonic distortion is measured with a 18dB/Oct filter @80kHz. *2. Hum & noise level is measured with a 6dB/oct filter @12.7kHz; equivalent to 20kHz filter with infinite dB/Oct attenuation *3.Crosstalk is measured with a 30 dB/octave filter @22 kHz.

Input terminal PAD INPUT 1-48 & ST IN 1-4[L,R] GAIN -62dB +10dB Actual load impedance 3k 10k 3k For use with nominal 50-600 Mics & 600 Lines 600 Lines 50-600 Mics & 600 Lines Input level Sensitivity -82dBu -10dBu -6dBu (-12dBu) -60dBu Nominal -62dBu +10dBu +4dBu (-2dBu) -50dBu Max. before clip -42dBu +30dBu +24dBu (+18dBu) -30dBu Connector XLR3-31 type* XLR3-31 type* XLR3-31 type*
Output terminals STEREO A,B[L,R] MONITOR OUT[L,R,C] CUE OUT[L,R] MATRIX OUT 1-8 MIX OUT 1-24 Actual source For use with impedance nominal Lines 600 Lines 600 Lines 600 Lines 600 Lines 10k Lines 8 Phones 40 Phones Output terminals GAIN SW +24dB +18dB +24dB +18dB +24dB +18dB +24dB +18dB +24dB +18dB ------Nominal +4dBu -2dBu +4dBu -2dBu +4dBu -2dBu +4dBu -2dBu +4dBu -2dBu +4dBu 75mW 65mW Max. before Clip +24dBu +18dBu +24dBu +18dBu +24dBu +18dBu +24dBu +18dBu +24dBu +18dBu +24dBu 150mW 150mW Connectors XLR3-32 type* XLR3-32 type* XLR3-32 type* XLR3-32 type* XLR3-32 type* TRS Phone Jack * ST Phone Jack **


Te rmi nal 1 2TR IN DIGITAL with SRC CASCADE IN AES/EBU AES/EBU COAXIAL F ormat AES/EBU AES/EBU IEC-60958 --Data length 24bit 24bit 24bit --L e ve l RS422 RS422 0.5Vpp/ 75 RS422 Conne ctor XLR3-31 type XLR3-31 type RCA Pin Jack D-sub Half Pitch Connector 68Pin (Female)

Te rmi nal

1450 1551
Data length 24bit 24bit 24bit ---
L e ve l RS422 RS422 0.5Vpp/ 75 RS422
Conne ctor XLR3-32 type XLR3-32 type RCA Pin Jack D-sub Half Pitch Connector 68Pin (Female)


Terminal TO HOST MIDI TIME CODE IN U SB IN OU T TH R U S M P TE IN OU T Format USB1.1 MIDI MIDI MIDI SMPTE ----------PS/2 PS/2 ----Level --------0.3Vpp(min.)/ 10Vpp(max.), 10k TTL/75 (ON/OFF) TTL/75 --RS422 RS422 --2.5V-11.5V -Connector B Ty p e U S B C o n n ecto r D I N C o n n ecto r 5P D I N C o n n ecto r 5P D I N C o n n ecto r 5P X L R 3-31 Ty p e* B N C C o n n ecto r B N C C o n n ecto r D-Sub Connector 25P (Female) D-Sub Connector 9P (Male) D-Sub Connector 9P (Female) DIN Connector 6P DIN Connector 6P XLR4-31 Type PCMCIA (Compact Flash)


PM5D-RH Version2



What kind of computer do I need?
The system requirements are subject to change with future updates and current information is given on the download pages of the website, but in Autumn 2008;

For Windows Vista

CPU: 1.4GHz or higher Intel Core/Pentium/Celeron family processor OS: Windows Vista(32-bit; Ultimate/Enterprise/Business/Home Premium/Home Basic) Hard Disk: 30 MB or more Memory: 1GB or more Display: 1,024 x 768 pixels or higher; High Color 16-bit or higher Other: USB port (PM5D) Network port (DSP5D)

For Windows XP

CPU: 1 GHz or higher Intel Core/Pentium/Celeron family processor OS: Windows XP Professional / XP Home Edition / XP Tablet PC Edition 2005 Hard Disk: 30 MB or more Memory: 512 MB or more Display: 1,024 x 768 pixels or higher; High Color 16-bit or higher Other: USB port (PM5D) Network port (DSP5D)
For Mac OSX (There is currently no Mac editor for DSP5D)
CPU: PowerPC G4 or higher OS: MacOS X 10.4-10.5 Hard Disk: 30 MB or more Memory: 512MB or more Display: 1,024 x 768 pixels or higher; High Color 16-bit or higher Other: USB port (PM5D) If you would like to use PM5D Editor Mac version on Intel Mac, the Editor works only under Rosetta.
Which Version of Software should I use?
Yamaha always recommends the latest version of console rmware and the latest version of Studio Manager and PM5DV2 Editor. This combination is compatible for on-line connection and synchronization, will have the latest features and least known bug problems. However, we understand that in the real world there are older versions of consoles in circulation and that some engineers may have saved data in older versions of the SM and Editor.
How can I deal with older versions?
Yamaha constantly develops the PM5D mixing system, sometimes new versions are released that include new features and sometimes versions simply tweak the existing system to improve performance and bug x. When new console versions are released, new Studio Manager and Editor versions are often required to keep compatibility. All les saved in mixers are.PM5 type les and these will open in all future mixer versions, however it is not possible to guarantee future les will still be compatible with older mixers. For this reason Yamaha strongly recommends the use of current mixer rmware in all consoles. If you own the mixer, keep it up to date or visiting engineers may not be able to open their les. If you are a touring freelance engineer carry latest rmware and PCMCIA or CF card for upgrading. Console rmware is provided free of charge on Files saved in Studio Manager can have other formats (see page 15/16 of this guide). If a le was saved as a.YSM or.YSE le in V1 of Studio Manager it will not open in V2. This table is an example from Dec 2008; get the latest from

60 Rev Sax 61 Rev Sax 62 Rev Kit 63 Rev Kit 64

PM5D rider specications;

When specifying a PM5D console, we suggest you make it clear which model you prefer; PM5D (Manual Head Amp) or PM5D-RH (Recallable Head Amp) and if you need DSP5D and DCU5D for extra channels. Also specify you need the latest console rmware, any MY cards, spare PSU, LA1L desk lamps and mains power for your laptop to run Studio Manager. Always provide your own PCMCIA card for data back up and loading and remember your USB cable for Studio Manager connection! PM5DV2 Editor files can be loaded by either console hardware version, but the Editor software version must be compatible with the console rmware version. The latest versions are always available from together with a compatibility list. But as a rule of thumb the latest console version will always accept same release and older version.PM5 les. Problems may only arise when a newer version of Editor is used to create a le for a console running on old rmware. Yamaha always recommends that you use latest versions of console rmware to avoid this potential problem, but if this is impossible create older.PM5 les by using PM5D Editor V1. If you intend to go online then you will need concurrent versions. If necessary you can carry current console rmware with you on a suitable PCMCIA card and be prepared to upgrade the console.
Entering names and doing the patch; the planning stage.
When preparing a show le with the PM5DV2 Editor it is important to remember the layout of the actual console surface and the limitations of using paired/stereo channels. Some important points to remember; 1) Mono channels can be paired to make stereo but only adjacent odd / even channels. 2) There are 24 channels in each mono layer and stereo channels are in two layers of 4 so avoid putting groups of related channels across the layers. (Just like splitting related channels across a center-master analog console.) THE EXAMPLES have less than 64 channel requirement and many are stereo so they can be accommodated on a single PM5D. The most obvious candidates for the stereo channels are the effects returns, CD and ambience mics. There needs to be one more stereo channel; this could be a stereo keyboard or stereo sampler line; but in this example the drum overhead mics were chosen. The revised list here shows this in the First Attempt column.
Input Channel List for THE EXAMPLES Second First Attempt! Attempt!
PM5D Multicore PM5D Channel Ch Ch Ch 1 KICK BKICK SNARE TOP 4 SNARE IN 5 SNARE BOTT 6 TIMBALE 7 HI HAT 8 TOM TOM TOM TOM RIDE 13 Stereo 1L Stereo 1L OH SR 14 Stereo 1R Stereo 1R OH SL 13 SPD 14 BASS PRE 15 BASS POST 16 OCARINA 17 SAX 18 ACC GTR 19 GTR TOP 20 GTR BOTT 21 LINE HARMONICA 23 SIMON VOX 24 SIMON VOX SPARE 25 BASS VOX 26 KEY VOX 27 GTR VOX 28 BV 29 YAMAHA AN1x 30 YAMAHA FS1R 31 Motif ES 32 YAMAHA CS6x L 33 YAMAHA CS6x R 34 VL1 L 35 VL1 R >>37 SEQ 1 - LOOPS 38 SEQ 2 - LOOPS 39 SEQ 3 - BASS 40 SEQ 4 - FX 41 SEQ 5 - KEY 1L 42 SEQ 6 - KEY 1R 43 SEQ 7 - KEY 2L 44 SEQ 8 - KEY 2R 45 SEQ 9 - VOX 46 SEQ 10 - VOX 47 SEQ 11 - GUIDE 48 SEQ 12 - CLICK 51 Stereo 2L 52 Stereo 2R 53 FX 4L 54 FX 3L 55 FX 3R 56 Stereo 3L 57 Stereo 3R 58 Stereo 4L 59 Stereo 4R 60 FX 1L 61 FX 1R 4Nam! K 52 K91 SNtp SNin SNbt Timb Hats Tom1 Tom2 Tom3 Tom4 Ride Ohsr Ohsl SPD Bss1 Bss2 Ocar Sax Acou GtrT GtrB Lin6 Harm Simo Sspr John Nick Andy Anna AN1x Voco Moti CS6L CS6R VL1L VL1R Loop Loop Bass FX Key1 Key1 Key2 Key2 Vox Vox Gide Clik KeyT Ambi Ambi TTS CD L CD R DDL DDL RevS RevS Rsax Rsax

As; August 2006

Stereo 2L Stereo 2R FX 4L FX 3L FX 3R Stereo 3L Stereo 3R Stereo 4L Stereo 4R FX 1L FX 1R AMBIENCE SR AMBIENCE SL Talk to Stage CD CD DDL Simon DDL Simon Rev Simon Rev Simon Rev Sax Rev Sax
Mic SH 53 SH 92 SH 57 XLR KP 85 Theta 98 A 452 * Theta 98 Theta 98 Theta 98 Theta 98 A 461 A 415 A 415 Active DI Active DI UHF Theta 98 UHF Theta 98 UHF Theta 98 BSS DI BT 4051 * MD422 BSS DI XLR UHF Theta 58d UHF Theta 58d Theta 57d Theta 57d Theta 57d UHF Theta 58d Active DI Active DI Active DI Active DI Active DI Active DI Active DI XLR XLR XLR XLR XLR XLR XLR XLR XLR XLR XLR XLR MXL 58mic A415 A415 MXL58 switch
+48V Y Y Y Y Y Y Y Y Y Y Y Y Y
At this stage it is noted that the stereo sampler lines are in even + odd pairs so they cannot be linked into pairs. By making the decision to move a single channel the pairing can be made; this is labeled second attempt.
With THE EXAMPLES, the choice is made to keep the Simon vocal as the last channel in a layer; making it quick to nd.


Entering names and doing the patch;
In the Editor, channel names can be entered on either the patch window or the main INPUT CH windows. Rapid naming is easiest in the INPUT CH windows as the Tab key can be used to move to the next name. Double click on the name to highlight it then type in your name. Of course you are restricted to using four characters for names, but dont forget useful keys such as the circumex key^ and v for up and down and the left/right arrow keys; <>, use the Tab key to move to the next name.
Input Chan nel List for THE EXAMPL First ES Second Attempt! Attem pt! As; August
PM5D Ch Channel 1 KICK B52 4Nam! 2 Mic KICK 91 K +48V SH 3 SNARE TOP KSH 4 SNARE IN SNtp 5 Y SH 5 SNARE BOTT SNin 6 XLR TIMBALE SNbt 7 Y KP 7 HI HAT Timb 8 Y Theta 8 TOM 1 Hats 9 A 452 * TOM 2 TomY Theta 10 TOM 3 TomY Theta 11 TOM 4 TomY Theta 12 RIDE TomStereo 1L Y Theta 98 Stereo 1L Ride OH SR 14 Stereo 1R Y A 461 Stereo 1R Ohsr OH SL 15 Y A 13 SPD Ohsl 16 Y A 14 BASS PRE SPD 17 Y Active DI BASS POST BssY Active DI OCARINA BssY UHF Theta 17 SAX Ocar 20 UHF Theta 18 ACC GTR Sax 21 UHF Theta 19 GTR TOP Acou 22 BSS DI GTR BOTT GtrT 23 Y BT 4051 * LINE 6 GtrB 24 Y MD22 HARMONIC LinBSS DI A SIMON Harm 26 Y VOX XLR SIMON Simo 27 VOX UHF Theta 25 58d 25 BASS VOX SPARE Sspr 28 UHF Theta 26 58d 26 KEY VOX John 29 Theta 57d GTR VOX Nick 30 Theta 57d BV Andy 31 Theta 57d YAMAHA Anna 32 UHF Theta AN1x 30 58d 30 YAMAHA AN1x 33 Active DI FS1R Motif ES Voco 34 Y Active DI YAMAHA Moti 35 Y Active DI CS6x L YAMAHA CS6L 36 Y Active DI CS6x R VL1 L CS6R 37 Y Active DI VL1 R VL1L Y 38 Active DI 36 >>37 SEQ 1 VL1R Y 39 Active DI - LOOPS 37 Loop 38 SEQ 2 Y 40 XLR LOOPS SEQ 3 Loop 41 BASS XLR SEQ 4 Bass 42 FX XLR SEQ 5 FX 43 KEY 1L XLR SEQ 6 KeyKEY 1R XLR SEQ 7 Key- KEY 2L XLR SEQ 8 KeyKEY 2R XLR SEQ 9 KeyVOX XLR SEQ 10 Vox 48 - VOX XLR SEQ 11 Vox 49 - GUIDE XLR SEQ 12 Gide 50 - CLICK XLR 48 Clik 36 KEY TALK 51 Stereo 2L XLR BACK Stereo 2L KeyT AMBIENCE 52 Stereo 2R MXL 58mic SR Stereo 2R Ambi AMBIENCE 53 FX 4L A415 SL FX 4L Ambi Talk to Stage 54 FX 3L Y A415 FX 3L TTS CD 55 FX 3R Y MXL58 switch FX 3R CD L CD 56 Stereo 3L Stereo 3L CD R DDL Simon 57 Stereo 3R Stereo 3R DDL DDL Simon 58 Stereo 4L Stereo 4L DDL Rev Simon 59 Stereo 4R Stereo 4R RevS Rev Simon 60 FX 1L FX 1L RevS Rev Sax 61 FX 1R FX 1R Rsax Rev Sax 62 FX 2L FX 2L Rsax Rev Kit 63 FX 2R FX 2R R sn Rev Kit 64 R sn

Multicore PM5D Ch Ch

Altering the patch;
One of PM5Ds great strengths has always been that it has a standard default patch and that for simple shows no patching is needed. However, the examples is a long and complex input list with many stereo channels so some patching is useful. The patch could be achieved by re-writing the channel list or analog style by moving the XLR connectors in the back of the console. But to avoid physical patching like this confusing any other engineers using the console and to keep in line with the FOH and any other recording or broadcast consoles it is better to use the internal soft patch. The blue blobs show the connection between the desk channels (down the left) and the input sockets (across the top). The default patch is 1 to 1.

To change the patch;

Simply click on the blue blobs to add or remove connections. Confirmation pop-ups can be disabled in WINDOWS>UTILITY > PREFERENCES. An input socket can be patched to several channels (Y-Split) but multiple inputs cannot be fed to one channel. (Thats what you need a mixer for!) Use the patch to ensure your channels are in convenient places; ie stereo channels are in odd-even positions and channels are in related groups on different layers.
To pair mono input channels as stereo;
On the console worksurface we can press and hold two [SEL] buttons to make a pair, but in the Editor we must use the Selected Channel window. Click on the heart icon to make a paired (stereo) channel. All parameters except pan and HA are linked. To pair or Gang the HA use the [Gang] button beside the HA control knob. HA can be ganged with an offset if required.

Applying +48V to inputs.

On the regular PM5D model the +48V switch is located above the analog gain pots but on the PM5D-RH model the +48V is software controlled and so can be set in the Editor. There is a +48V switch in the selected channel or on the INPUT CH window for each of the 24 channels.

Output patching.

The main outputs (StereoA,B, CUE, MONITOR, MATRIX 1-8, ) have dedicated output XLRs on the back, but they are also patchable to the MY slots or even the block of 24 Mix Output sockets. The 24 Mix outputs are patched to the 24 Mix out sockets by default, but they can also be patched to MY slots if you need outputs in a digital or analog format. We will look at FX patching separately.

Planning your outputs;

Now is a good time to store your scene and save your setup work.

Store a scene

After completing the naming and the patch it is a good time to make a rst save of your setup. We will go on to Save the data as a console le on a memory card, but rst we should Store the setup we have done so far as a scene within that le. Remember Yamaha uses the term Store for creating scene memories and Save for creating whole console and other setup memories. Open the SCENE window and select a scene location, then press [STORE]. The Store process does not prompt you to add a name, but you can do this by double clicking on the [Initial data] name area. If you dont store your setup as a user scene with a number it can be still be saved to a card and it will be loaded as the current scene. However, it cant be loaded as an individual scene into another session le if it hasnt been stored and remember if you load your data as the current scene it is vulnerable to being changed by accident and there is no scene to return to, so it is very advisable to store as a scene.

Save a session

The exact way of saving depends on whether you use a Windows or Mac computer, but the routine should be familiar. Go to File>Save. The rst time you save a dialogue box will ask you to name the le and choose where to save it. Choose a name like The Examples show and save in a folder on your system. There are two formats that the data can be saved in; a.PM5 le or a.YSE le (Yamaha Studio Editor).PM5D format.PM5 les can be opened by PM5D consoles and the PM5DV2 Edtior,.YSE les can only be opened by the editor. If you are setting up the most simple system of one PM5D console it makes sense to always save as.PM5 le using the Editor File>Save menu.YSE format The other formats offer some advantages. One small convenience is that the.YSE les open with the same window layout as they were stored with, so they can be faster to get going with. Also the.YSE le format is necessary as a component of a.YSM (Yamaha Studio Manager) le.
Editor: File> Save As>.PM5
.YSM Format If you have a PM5D and DSP5D or other multiple unit system it may make managing data easier to save as a.YSM le as this will save both consoles in one memory. However, remember that this data must be translated into two.PM5 les if it is to be card loaded. If a.YSM le is opened in Studio Manager connected on-line to the DSP5D and PM5D it can be synchronised to the consoles simultaneously and more rapidly than card loading.YSM les also remember the window layout so they are convenient for editing. A.YSM le can also be opened through links with a Steinberg Cubase session. These are the advantages of.YSM les.
Manager; File >SaveAs>. YSM

To save as a.YSM use the File>Save menus from the Studio Manager window containing the Editor icons.
Internal effects engines.
PM5D has eight internal effects engines; each works like a stereo in/out SPX 2000 type multi-effects unit. All the effect programs and parameters can be pre-selected using the Editor and saved into a console le.
Patching internal effects;
The In and Out of the effects engine can be patched from the Input and Output Patch Editor windows, but it is easier to see the effects patch from the Effect Editor window itself. Effects can be patched as send and return type (Mix out>Effect>Channel in) or inserted. The inserted option is useful for the Add-On compressors, but The Examples engineer inserts a reverb on the saxophone channel; this saves a valuable mix send, and the balance of sax to effect is done with the Wet/Dry Mix Balance control. There are two Effect Editor windows; the rst Effect Editor can be used to alter all parameters and access the library of Effects presets. The second window Effect Editor [Locked] can be used to change parameters but not the main library preset. You can access all eight engines from each window. Click on [Library] in the Effect editor window to change the effect from the default Large Hall reverb.
Enhanced GUI (Graphical User Interface) for Add-on Effects.
The effects in library positions 46 to 54 come from a special series of Add-on effects and they have special control GUI pages available in the Editor. These GUI are not available on the console screen but the effects obviously do run in the console, just with a simpler GUI. The Rev-X GUI is especially useful in helping to understand the parameters of reverb.

Rev-X EQ 601




The Matrix.

The PM5D matrix has 8 outputs and is fed by the 24 mix buses and the two Stereo Master buses. You can pair matrixes just like mixes. The Matrix window shows the master output level faders and the bars show the levels of the 24 Mix buses and two Stereo Meters feeding into that Matrix channel. You can drag the bars across from this window but its tricky without a very large screen. For more accurate setting of levels use the Selected Channel window.
THE EXAMPLES use the matrix for their spare in-ear monitor systems;
If there is a failure of a band members IEM system then their mix can be sent to the spare; 1) Turn on MATRIX 1 and 2 and pair them by pressing the heart symbol in the SEL channel window. 2) Turn [ON] and up the matrix send to nominal by clicking and dragging round the knob image, 3) If a spare IEM pack is connected to the matrix output it can now be used for any IEM user who's own system fails. Quickly double press the SEL key of the mix with the failed pack and turn up the mix to matrix with the matrix encoder (or use Studio Manager if it is on-line.), the mix will now be available in the spare pack.

Graphic equalizers, GEQ.

PM5D has 12 dedicated internal graphic equalizers and a further 8 that can be added by utilising the FX units. These are 31 band, 1/3 octave GEQ with a choice of cut / boost depths and a spectrum analysis of what is passing through them. Flex-15 type GEQs are not available on PM5D. The GEQs are insertable on any input or output channel. Patching and setup of the GEQs can be done in Studio Manager. To operate or patch a GEQ, open the GEQ Editor window. There are two views available, both can contain any of the GEQs. To patch the GEQ click on [NONE] and select a channel to insert the device into. When a GEQ is inserted the channel insert point is automatically switched on. But note the GEQ is not on (in bypass).

User Dened Keys.

There are 25 user dened keys on the PM5D panel; 24 in a block and one above the DCA fader section. There are four banks of keys (ABCD) available. The keys are all programmable to a variety of user chosen tasks; the most common are Bookmarks or short-cuts to screens, Next or Last Scene and "tap tempo" for delay type effects sends. The "Examples" engineer uses "Layer Snapshot" User Keys for each of his main artists to access their monitor mixes really rapidly. This programming can be done in the PM5DV2 Editor. The keys can be programmed in the Editor but they cannot be operated from it, even when on-line.
To begin programming the UDKs open the User Dened Keys Setup window. Its accessed through Utilities in the Windows drop-down list.
Press a UDK image to open the Parameter window and choose a UDK function just as you would on the PM5D panel. The UDKs in PM5D Editor Control can be used to call up screens on the editor when it is connected to the PM5D on-line. They are like bookmarks for the on-line editor. When you have programmed your UDKs make a note of your choices on paper because you will need to label the PM5D panel with tape and pen when you load your le. There is no electronic naming for the UDK section.

Assignable / DCA faders.

The eight assignable faders are multi functioning; they are either DCA masters or assignable to any user dened fader function. There are 6 user assigned banks and the dedicated DCA bank. Programming of the assignable faders can be done in the Editor. Click on one of the channels in one of the letter banks and the menu of all channels will open. The menu is very large because it is possible to select channels from a PM5D with two DSP5Ds attached system, but for a simple PM5D only setup, use the channels without #key numbers. Use the [STAY] choice to x the fader as it was last assigned or [----] to disable the fader.

PM5D data loading from PCMCIA card. (Basic Load All Data);
Access the LOAD screen from DISPLAY ACCESS>UTILITY>>LOAD. Before loading data into a PM5D be sure that the data within the console is backed up or no longer required. WARNING!! LOADING DATA IN THIS WAY OVERWRITES ALL EXISTING CONSOLE DATA.* The load page will show a list populated with all the things saved to the memory card, even non-PM5D related things. Scroll until you nd your.PM5 le click on [LOAD] and any conrm dialogue boxes. Your data will be loaded into the console and any data within the console is lost. *(Output data can be retained if Output Isolation feature is used).

In addition to the LOAD;

The console will be setup just as you dictated in Studio Manager. Only the rotary pots of the monitor section, the HA section on a regular PM5D and THE +48V MASTER SWITCH ON THE BACK OF PM5D-RH are not necessarily the same. You might want to add some labeling tape to the User Dened Key area and to the mix masters at this stage.
Now you can do your rst soundcheck and show. Store scenes as you go along. If you are unsure about when to store, just do it often; you can always delete scenes later. Part 2 of the guide gives further information on saving and loading with PCMCIA cards and also how to edit scenes and manage recall options.
Going on-line for the rst time; Studio Manager, PM5DV2 Editor and PM5D.
If you have already been using Studio Manager and PM5D Editor off line then all you need to go on line is to add a USB connection cable and the USB-MIDI driver. Current drivers for PC and Mac can be obtained from You can check to see if the USB driver is installed already by looking in the Control Panel of your PC or System Preferences on your Mac. There is no need to click on the driver, it is activated by connecting the PM5D. If you click on it, it will simply open a dialogue box saying no mixer is connected. For DSP5D you need DME-N network Driver installed. The default IP address for DSP5D is
After downloading the driver follow the instructions to unzip the driver and install. With a PC connect the PM5D and a Found New Hardware wizard will pop up and help you install the driver just in the same way if you connected a new USB printer or other ofce peripheral. With Mac just double click the icon and follow the loading instructions. Full instructions for both OS are available from the download site. With Windows XP the driver is associated with a particular USB port, this requires the driver to be re-installed if a different port is used, and so it is recommended to always connect with the same USB port, but Vista and Mac computers dont have this limitation.

PM5D Mixer settings

On the mixer surface you need to choose the port that the mixer will expect Studio Manager signals to control it from. Press MIDI/REMOTE key in display access section and press until MIDI Setup tab is available. In the bottom right corner of the screen see the PM5DV2 EDITOR box. Select USB and leave the other boxes to show 1-1.
Now you are ready to go on-line with PM5D. If Studio Manager is already open, save your work, close it down and reopen it. Studio Manager only looks for the console when it opens so if you connect your cable after the programme is open it will not go on-line. Similarly if you are on-line and you disconnect and re-connect the cable on-line status will not be restored.
Setting up MIDI ports the rst time you go on-line.
There are several stages to set up communication, but at each stage if you set default you will not have to set these again next time you connect. Open Studio Manager from the PC Start Menu or Mac Task bar. Do not open the editor just yet. When you open Studio Manager the Editor Icon screen will show. Instead of double clicking the icon to enter the editor, click FILE>>>SETUP on a PC or SM2>>>Preferences on a Mac. Choose the MIDI Settings tab. If the MIDI driver is installed correctly there should be a choice of 8 ports, multiple ports allow for more complex setups. Choose port 0-1 for both Input and Output ports. Check that the Set default option is checked and click OK. DSP5D has only one port, labelled either Unit 1 or something you named it in the DME-N network driver.
Now you can double click to open the Editor window. The next step is to assign the Editor to those MIDI ports. Click FILE>>SYSTEM SETUP and choose the ports from the drop down boxes. Remember to check Set Default and conrm with OK.
So it should be understood that there are two stages in assigning the MIDIports. Firstly all the ports are assigned in Studio Manager and secondly each Editor being used is assigned to one of those chosen ports. It seems complicated if you only have one mixer, but it is necessary for larger setups.
Now your computer should be on-line with the PM5D. There is no obvious indication of this on the Editor screen. To check you are on-line it is simplest to drag a screen fader and see if the PM5D fader moves! But if someone is using the desk you can check by opening the Sync window. Click on Windows and Sync or use the short-cut Ctrl+1. At this stage it is important to understand the connection states that can exist in the system. On-line, off-line, and synchronized.
On-Line, Off-line and Synchronized.
When you are connected on-line it means that any controller used on the PM5D or on the PC will take hold of the parameter and set it to the chosen value. If you connected Studio Manager with a new setup to a PM5D that was initialized then the two will also be synchronized in the sense that all the values shown on the PM5D will match those shown on the PC. However if you connected to a PM5D that was being used then the PC and the PM5D would not show the same parameters; they are on-line but unsychronized. To synchronize you can click the RE-SYNC button in the SYNC window, or go to Synchronization at the top of the window and Re-Synchronize. Either route will bring the Synchronize window to the screen. This window offers a choice of direction for the synchronization. It is hard to exaggerate just how IMPORTANT this is! If you synchronize from PC to Console then all the settings of the console are adjusted to become the same as those in the PC and the console settings are lost.

What makes up a Console or Session File?
We saw in Part 2 of the guide that the session is made up of a whole group of libraries. Using PM5DV2 Editor we can extract these libraies from a session and load them into the console individually. To make the system even more exible we can take individual memories out of the libraries (like a single scene) and load it into the console, and just in case that position in the console memory is being used, we can change the scene number as we load it. Here is a reminder of the libraries;

Input Channel library

Scenes library (500 user memories)
HA gain library (199 user memories) Input patch library (99 user memories)
Output Channel library Current Scene Input EQ library User dened key settings (4 banks) DCA fader mode. 6 settings AtoF MIDI congurations General preferences and setup settings (inc Recall Safes) Output patch library (99 user memories)

Output EQ library

Gate settings Comp library Effects library

Graphic EQ library

A memory of any Event list.

Console or Session le

The blue boxes include all the items stored when the console [Store] key is used to store a scene. They can be linked for store and recall. Scenes can be saved individually.
The green boxes contain a mix of read only and user stored settings, the user contents are stored when they are entered.
The yellow box contents are stored as they are created and there is only one version stored per Console or Session le.
The red box is the whole session made up of the libraries.

Library Window dragging.

Example; load a stored user effect from one session to another.
In this example lets imagine that Guest, the vocalist is joining The Examples on stage. Guest requires a special delay effect patch to suit his voice. The special effect parameters are available in a different PM5D le. There are two ways to transfer them; 1. Manually. Open Studio Manager and PM5DV2 Editor and look at the parameters in Guests show le. Then copy them manually into the show le of The Examples and store them. This is acceptable if there is only one effect but if Guest was going to sing several songs with different effects it could be tedious and error prone. 2. Use PM5DV2 Editor to drag them across.

Before Guest Delay FX can be transferred from one le to another it must be stored to the effect library. Using PM5DV2 Editor, open the scene with the effect, open the Effect Editor Window and store the effect to the library. (This might already be done by Guests engineer.)
Next, drag the stored effect from the right hand column (INTERNAL DATA) and drop in the left hand column (FILE) and conrm. You cannot choose library positions less than 056 as these are ROM for the Yamaha presets. Save the new user library by clicking on SAVE above the FILE column. This will save the library onto your computer as a.PM5 le. However it is important to understand this is not a PM5D session le, just an effects library. For this reason we suggest you give the library a name that reects what its contents are, because it is easy to get it mixed up with other.PM5 les if you dont. In this case we choose GuestFX. If you put this le onto a PCMCIA card you can Advanced Load it into a PM5D console, being sure to carefully limit the range of library entries and target to an empty location.
But you can also do this without the console. Close the Guest session and open The Examples. Open the Effect Library window. Next open the GuestFX library on the FILE side, by using the Open button above the FILE column. (It could still open from the saving). Drag the stored Guest Delay FX from FILE to INTERNAL data. Choose a location that is free.
More Library Window dragging.
This technique of dragging items across the library window will work for other library items too. Notable exceptions are the User Dened Key libraries and the SETUP library. It is not possible to, say create a Bank B, and drag it into the console or create some preferences and drag them into the console. These can only enter the console by synchronisation or by loading from a prepared PCMCIA card. In addition to the library items, scenes can be dragged in this way, but we should pay special attention to scenes because they are complicated by the linking of Input Patch, Output Patch and HA libraries.
Using two PM5DV2 Editors.
An alternative to dragging from INTERNAL DATA to FILE and saving as a library le, is to open two instances of the PM5DV2 Editor. The advantage of this is that two sessions can be opened at the same time and data dragged across from one to the other without going through the middle stage of saving. This is particularly effective when one editor is on-line with the console and one is off-line. You can drag from an off-line session and drop directly into the console! Take great care not to have two editors on-line with the console at the same time and name the editors to avoid confusion!
Memory Structure of Scenes.
Background The PM5D scene memory contains the huge range of parameters such as EQ, dynamics, levels, FX presets and parameters, GEQ etc. that make up the mix. But it is important to understand that the patching and particularly the naming of channels is not stored within the scene memory. HA values and +48V settings are also stored separately in an HA library. Input patch and name is in the Input Patch Library and Output patch and name is in the Output Patch Library. So for the console to make a scene recall properly it must not only have the stored scene data, but also the HA Library (RH only), Input Patch Library and Output Patch Library. The engineer has only one recall button so obviously there must be internal links. When a scene is recalled the appropriate libraries are recalled at the same time via these links. In normal operation of the console this is done automatically, but when Advanced loading scenes and libraries it is sometimes necessary to reset these links. The linked library number is stored as part of the scene when the scene is created.

Wireless remote control of PM5D.
USB cable limitations mean remote control of PM5D by a PC is limited to a 5m connection. Some wireless USB devices are available but these are generally not of a professional audio system build quality or capable of transmitting over much distance. Instead we recommend to use a PC with a wireless access point connected to the console and remote control this PC from another using a wireless VNC connection. Setup of this conguration is beyond the scope of this document, but it is increasingly popular. Good control can be achieved from a tablet PC and some users are even experimenting with remote control from PDA or mobile phones.

Server PC

Viewer PC


PM5D/PM5D-RH Quick Start Guide in three parts.
Thank you very much for reading through these guides. We hope they help you get the best from the PM5D system. The have become quite lengthy for something called a quick start guide, but PM5D is a very comprehensive digital mixer. The ofcial manuals contain much more information and sections not mentioned in these guides. Subjects like the use of User Dened Keys to generate GPI or MIDI commands to control playback devices, lighting or AV equipment. Timecode and other triggers like MIDI can be used to recall scenes within the console or even operate faders and other parameters too. There is information about the use of surround sound congurations, GPI controllers: input and output, Timecode and Cascade connections to other mixers and much more to learn!



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