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PM5D / PM5D-RH

PM5D Digital Mixing Console for live applications with a choice of two configurations

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Bringing the best of PM1D, DM2000 and PM5000, the PM5D Digital Mixing Console series offers two configurations of mic preamps with excellent sonic quality for a broader range of SR applications.

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PM5D Version 2

The PM5D is a great live sound console, its quality and reliability has made it the world's first choice of large digital mixer. Despite its maturity and popularity, the large user base of discerning professional engineers always wanted to add more features to suit their many different applications.

The PM5D V2 is the result; it's loaded with new features grounded in actual day-to-day experience ranging from subtle refinements to seriously notable innovations. And owners of the original PM5D aren't excluded from the good news: a free firmware update, downloadable from Yamaha's Pro Audio website, will bring any existing PM5D up to the PM5D V2 specification.

DSP5D Digital Mixing System Compatibility for Doubled or Tripled Capacity

System scalability was another big request from PM5D users and now this is achieved by adding Yamaha DSP5D Digital Mixing System units. DSP5D provides essentially all the functionality of a PM5D-RH V2 in a rack-mountable unit that can be seamlessly controlled from a PM5D V2 console. Up to two DSP5D units can be used with a single PM5D V2 console. A PM5D V2 plus one DSP5D gives you a total of 96 mono and 16 stereo input channels, while adding two DSP5D units to a PM5D V2 provides 144 mono and 24 stereo input channels to comfortably handle large-scale applications. And of course your processing power is doubled or tripled, respectively.

All the Effects and Processing You'll Need Onboard

The PM5D V2 offers every processing facility you'll ever need onboard. Every input channel has 4-band EQ plus a high pass filter, a separate gate and compressor, and delay of up to 1000 milliseconds. The stereo and mix outs have 8-band EQ, compressor, and delay. The matrix outs have 4-band EQ, compressor and delay. The cue and monitor outs even include a useful 1000 millisec delay. But the PM5D V2 doesn't stop there! It features twenty 31-band GEQs or a combination of 12 GEQs and eight independent VCM type or SPX2000-class multi-effect processors that can be patched into any of the console's input, stereo, mix, or matrix channels, offering a comprehensive range of reverb, delay, modulation, and combination effects. The PM5D V2 also comes with Yamaha's incomparable ADDON EFFECTS built in! You have immediate access to acclaimed REV-X Reverb programs as well as the Compressor276, Compressor260 and EQ601 programs from the AE-011 Channel Strip package and the Open Deck programs from the AE-021 Master Strip package.

Virtual Soundcheck

Here's a perfect example of a version-2 feature that has been implemented in response to feedback from the field. With a multi-track recording systems such as Steinberg's Nuendo DAW, the PM5D V2 can not only be part of a top quality recording set up, but a live recording made during a rehearsal or performance can be temporarily patched to a selection of the console's inputs and used for setup and adjustment when certain musicians or performers aren't available. The results of this "Virtual Soundcheck" can then be directly saved to a scene without the need for complex re-patching, console reboot or fear of accidental changes to setting. And unlike similar features found in other consoles, the PM5D V2 lets you assign individual channels to the Virtual Soundcheck function as required, so you can keep sound effect or BGM channels alive while doing a sound check.

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Extra EQ

The PM5D's eight SPX2000-class internal effect processors offer a vast amount of DSP power. But since not every application requires full use of eight powerful effect processors, some of that power may be diverted. In version 2 that potential can be put to good use in providing additional insertable graphic and parametric EQ units. The PM5D V2 offers a plentiful supply of independent equalizers with new narrower Q settings for input and output processing, but every engineer runs up against situations in which no amount of EQ seems to be enough. That's where the expanded EQ capability provided by this new feature will really shine.

Solid Security

Although the original PM5D offered plenty of security-oriented features, version 2 provides even greater security that will keep the system operating properly in the widest possible range of applications. A new Load Lock function, for example, makes it impossible to inadvertently load data that might change critical settings from external memory or the PM5D Editor. There's also an Output Isolation feature that allows full input channel control while preventing scene recall operations from changing output compression, delay, EQ, fader, patching, and other output parameters that needs to remain constant even through band or program material changes. You can specify any or all of the output parameters you want protected. And you can now assign "read-only" status to specific scenes to prevent them from being overwritten by store, load, or edit operations.

Channel Move Function

This seemingly simple function can be a huge advantage when revising a channel layout plan. Mono and stereo input channel setups can be "moved" to any other channel in one simple operation so you don't have to spend time re-entering all of the related channel settings, including patch and HA settings.

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A New Dimension in Digital Live Sound

The PM5D and PM5D-RH Digital Mixing Consoles now take the digital revolution to the next level. They are smaller relatives of PM1D, offering state-of-the-art digital performance for a significantly broader range of SR applications that require a more dedicated surface than the DM2000. What's more, they offer a system solution that can enhance the entire sound production process from input to output through integration with digital systems such as the DME64N and AD8HR.

PM5D – a new dimension in the digital live sound has begun.

The Yamaha Digital Advantage

Model PM5D or PM5D-RH: A Choice of Two Configurations

Customers have a choice of two front-end configurations. The PM5D includes 48 XLR/balanced TRS analog mono inputs with manual mic preamps based on the circuitry found in the Yamaha DM2000, plus an additional 4 stereo line level inputs. The PM5D-RH includes 48 XLR analog mono inputs with recallable mic preamps derived from the head amplifier design of the Yamaha PM5000, with 4 stereo inputs that will accept mic level signals. The choice will depend on you needs and budget, and whether you need to store and recall the analog gain settings in the same way as other parameters.

Whichever model you choose, you are assured of the best sound quality available. Both superb mic preamps convey the most delicate nuances of the input signal right down to the smallest details. The DM2000 mic pre-amps are highly regarded for their warm, transparent sound, while the PM5000 mic preamps have a warmth and boldness specifically designed for the live sound.

* "PM5D" refers to features common to both configurations, unless otherwise noted.

A New Size, Weight, and Performance Standard For Touring and Installations

On the surface the PM5D may look like a streamlined 24-channel console, but it is actually much, much more: a total of 130 input connections, simultaneous mixing of up to 64 inputs to stereo or LCR stereo, and 24 mix buses with extraordinary versatility, all with 500-scenes of total recall. Plus you have the equivalent of several racks full of first-rate processing gear onboard (56 Gates, 92 Comps, 97 Delays, 12 GEQs and 8 units of SPX2000 class multi effects).

Add advanced digital patching capability, sophisticated monitoring, surround panning from 3-1 to 6.1, and a wealth of features that contribute to unprecedented operational ease and efficiency. The fact that all of this is housed in a 950mm x 1551mm foot print console that weighs less than 98kg, powered by a 3U external power supply that weighs only 10 kg, is simply staggering. If you've been touring with traditional equipment you'll appreciate the dramatically reduced setup time and effort required by this groundbreaking console. If you're equipping an installation you'll love the reduced installation and maintenance costs, as well as all the space you'll save.

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Internal Processing

The PM5D will handle 24-bit/96kHz audio without compromise. You won't sacrifice channels or any other processing capabilities whether the PM5D is run at 44.1, 48, 88.2 or 96-kHz. Internal processing is all 32-bit (using 58-bit accumulators) to ensure that absolutely no loss of audio quality occurs at any point in the signal path.

High-capacity, Versatile Mix Performance

The PM5D can accommodate a total of 130 input connections (48 channel inputs, four stereo inputs, five 2 TR IN's plus four Mini-YGDAI slots), and can handle up to 64 inputs simultaneously. The 64 input mixing channels are configured by default as 48 mono input channels, 4 stereo inputs, and 4 stereo effect returns. By utilizing the internal patch bay and expansion slots you can instantly scene-switch between totally separate stage setups. In terms of bus-routing capability you have 24 mix buses that can function as submasters or auxiliary sends, in addition to the stereo A and B (or LCR) and CUE buses. There's also an 8-output mix matrix that is invaluable for setting up submixes for a variety of applications. Any of the input channels, mix buses, and matrix buses can be assigned to the console's 8 DCA faders for extraordinarily flexible group control.

All the Effects and Processing You'll Need Onboard

The PM5D offers every processing facility you'll ever need onboard. Every input channel has 4 band EQ plus a high pass filter, a separate gate and compressor, and delay of up to 1000 milliseconds. The stereo and mix outs have 8-band EQ, compressor, and delay. The matrix outs have 4 band EQ, compressor and delay. The cue and monitor outs also include delay. But the PM5D doesn't stop there! It features twelve 31-band GEQs and eight independent SPX2000-class multi-effect processors that can be patched into any of the console's input, stereo, mix, or matrix channels, offering a comprehensive range of reverb, delay, modulation, and combination effects.

The PM5D is also ready to use Yamaha's incomparable Add-on Effects that were first introduced for DM2000 and 02R96 digital mixers … in fact, the REV-X Reverb is included in the PM5D by default. You can use other popular programs like Compressor276, Compressor260, EQ601 and Open Deck by purchasing the Channel Strip and Master Strip packages.

Advanced, Intuitive Interface

The PM5D features interface technology developed and refined through an impressive lineup of digital consoles, including the PM1D. Here are a few highlights:

Selected Channel: Press the SEL key on any input or master channel and that channel strip is assigned to the console's SELECTED CHANNEL controls for real-time adjustment of a dazzling array of parameters. When you edit a parameter via a SELECTED CHANNEL control block, the corresponding display is automatically called to the console's large LCD display for even further editing precision and versatility.

Mix Send Select: With PM5D the operation in the vertical direction and horizontal direction on the conventional analog board can be done intuitively and more efficiently without changing the settings. For example; Press the MIX SELECT key corresponding to the desired mix bus, and the send levels to the selected bus can be adjusted directly via the channel strip encoders. If the MIX MASTER MIX SEND key is engaged, the send level from the current SELECTED CHANNEL input to all 24 mix busses can be adjusted via the MIX master encoders.

Encoder Mode: The input channel encoders can be assigned to mix send level, panning, input gain, or alternate layer input level, enabling the operator to adjust all input channel levels without changing layers.

Flip: When this key is engaged the functions of the input strip faders and encoders are reversed … this is great when you want to use the faders for fine control of a parameter normally assigned to the encoders, ideal when using PM5D for monitor applications.

The interface advantages are extensive, and extend to details that can make a significant difference to work efficiency and comfort. Also there are connectors for mouse and keyboard, great assistance when you have to type in many letters while setting up patches and scenes.

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Total Recall

On the PM5D, all parameters are recallable in up to 500 scenes, so you can instantly key to the perfect mix. This type of repeatability is particularly important in high-turnover applications where you might need to accommodate a number of totally different acts every day. It can also make life much easier in one-act touring applications, leaving you more time to optimize the mix for individual venues.

There is also a flexible recall safe function that enables on-the-spot cancellation and alteration of the pre-programmed settings.

HA Library

Another new feature on the PM5D is an HA library that, on the PM5D-RH, allows the gain and other parameters of the internal microphone preamplifier to be recalled in one operation. The HA library is also an advantage on both the PM5D and PM5D-RH when remotely-controllable preamplifiers, such as the Yamaha AD8HR, are connected via the console's expansion slots.

Surround Ready

(Click to enlarge)

The PM5D is equipped with 3-1, 5.1 and 6.1 surround modes. You can easily set up surround channels on the mix buses, and panning can be controlled via the track pad or by using dedicated control devices connected via the MIDI or GPI port.

Expandability

Four rear-panel Mini-YGDAI expansion slots allow you to use a range of MY series expansion cards to enhance the PM5D in a number of ways. You can, for example, use the added I/O capability to connect to and remotely control high-performance Yamaha AD8HR 8-channel A/D with microphone preamplifiers. You could also significantly expand your audio processing capabilities by cascading to a DME64N Digital Mixing Engine. You can have 64 matrix outs, and control additional GEQ, Master fader, Cross Over, Delay and Matrix Mixer components created on DME64N from PM5D. Or, of course, you could cascade-connect to another PM5D bidirectionally (up to 4 units unidirectionally) to create a huge system, or other Yamaha digital mixers such as the DM2000 or DM1000 for submix applications.

For more detailed information on the PM5D, please visit the Yamaha Pro Audio Global site at www.yamahaproaudio.com.

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General Specifications
All faders are nominal when measured. Output impedance of signal generator: 150Ω
Internal Signal Processing	32-bit (Accumulator 58-bit)
Sampling Frequency	Internal	44.1 kHz, 48kHz, 88.2kHz, 96kHz
	External	Normal rate: 44.1kHz (-10%) — 48kHz (+6%) Double rate: 88.2kHz (-10%) — 96kHz (+6%)
Signal Delay	Less Than 2.3ms INPUT to STEREO A, B (@ Fs = 48kHz) Less Than 1.15ms INPUT to STEREO A, B (@ Fs = 96kHz)
Fader	Motorized, Stroke: 100mm All Faders
Fader Resolution	+10 – -138, -∞dB (1024 steps) All Faders
Total Harmonic Distortion Input Gain = Min.	Less Than 0.05 % 20Hz – 20kHz @+4dBu into 600Ω INPUT 1 – 48 ch to STEREO A,B OUT (@Sampling frequency - 44.1kHz or 48kHz) Less Than 0.05 % 20Hz – 40kHz @+4dBu into 600Ω INPUT 1 – 48 ch to STEREO A,B OUT (@Sampling frequency = 96kHz)
Frequency Response	PM5D	0.5, -1.5dB 20Hz – 20kHz @1kHz into 600Ω INPUT 1 — 48 ch to STEREO A,B OUT (@Sampling frequency = 44.1kHz or 48kHz) 0.5, -2dB 20Hz – 40kHz @1kHz into 600Ω INPUT 1 – 48 ch to STEREO A,B OUT (@Sampling frequency = 96kHz)
	PM5D-RH	1.0, -3.0dB 20Hz — 20kHz @1kHz into 600Ω INPUT 1 – 48 ch to STEREO A,B OUT (@Sampling frequency = 44.1kHz or 48kHz) 1.0, -3.0dB 20Hz – 40kHz @1kHz into 600Ω INPUT 1 – 48 ch to STEREO A,B OUT (@Sampling frequency = 96kHz)
Dynamic Range (Max level to noise level)	110 typ. DA Converter (STEREO A, B OUT) (@Sampling frequency = 44.1kHz or 48kHz) 108 typ. AD + DA (to STEREO A, B OUT), GAIN: Min., PAD: ON (@Sampling frequency = 44.1kHz or 48kHz) 110 typ. DA Converter (STEREO A, B OUT) (@Sampling frequency = 96kHz) 106 typ. AD + DA (to STEREO A, B OUT), GAIN: Min., PAD: ON (@Sampling frequency= 96kHz)
Hum & Noise Rs = 150Ω Input Gain = Max. Input Pad = 0dB Input sensitivity = -60dB	-128dBu Equivalent Input Noise (20Hz – 20kHz) STEREO A, B OUT -86dBu Residual Output Noise, ST Master Off.
Maximum Voltage Gain @ 1kHz	84dB INPUT 1 – 48 to STEREO A, B OUT, Rs = 150., Input Gain: Max., PAD: Off 84dB INPUT 1 – 48 to MIX OUT/MATRIX OUT/CUE OUT/MONITOR OUT (via STEREO Bus)
Crosstalk @ 1kHz	-80dB Adjacent Input 1 – 48 -80dB Input to Output
Power Requirements	PM5D	480W DC 24V 20A (Use PW800W Only)
	PM5D-RH	600W DC 24V 25A (Use PW800W Only)
Dimensions	W x D x H (mm) 1551 x 950 x 283
Net Weight	PM5D: 98 kg	PM5D-RH: 97 kg
Operation free-air Temperature Range	10 – 35 °C
Storage Temperature Range	-20 – 60 °C
* Input Gain = Min. * Hum & Noise is measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation. * total Harmonic Distortion is measured with a 18dB/octave filter @ 80kHz * Dynamic range is measured with a 6dB/octave filter @ 12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation.

Libraries
Name	Number	Total
Scene Memory	Preset 1 + User 500	501
Input Patch Library	Preset 1 + User 99	100
Output Patch Library	Preset 1 + User 99	100
Input Channel Library	Preset 1 + User 199	200
Output Channel Library	Preset 1 + User 199	200
Input EQ Library	Preset 40 + User 159	199
Output EQ Library	Preset 3 + User 196	199
GATE Library	Preset 4 + User 195	199
COMP Library	Preset 36 + User 163	199
Effect Library	Preset 54 + User 145	199
GEQ Library	Preset 1 + User 199	200
HA Library	Preset 1 + User 199	200

Analog Input Characteristics (PM5D)
Input Terminals	PAD	GAIN	Actual Load Imp.	For Use With Nominal	GAIN SW *4	Input Level			Connector
						Sensitivity	Nominal	Max. Before Clip
Input 1 – 48	0	-60dB	3kΩ	50–600ΩMics & 600Ω Lines	–	-80dBu (0.0775mV)	-60dBu (0.775mV)	-40dBu (7.75mV)	XLR-3-31 Type (Balanced) *2
		-16dB				-36dBu (12.3mV)	-16dBu (123mV)	+4dBu (1.23V)
	26					-10dBu (245mV)	+10dBu (2.45V)	+30dBu (24.51V)
Stereo Input 1-4 [L, R]		-34dB	4kΩ	600Ω Lines	–	-54dBu (1.55mV)	-34dBu (15.5mV)	-14dBu (155mV)	XLR-3-31 Type (Balanced) *2
		10dB				-10dBu (245mV)	+10dBu (2.54V)	+30dBu (24.51V)
Insert In 1 – 48			10kΩ	600Ω Lines	–	-16dBu (123mV)	+4dBu (1.23V)	+24dBu (12.28V)	Phone Jack (TRS) (Balanced) *3
2TR In Analog 1, 2 [L, R]			10kΩ	600Ω Lines	+24dB (default)	-6dBu (388mV)	+4dBu (1.23V)	+24dBu (12.28V)	XLR-3-31 Type (Balanced) *2
					+18dB	-12dBu (195mV)	-2dBu (0.616V)	+18dBu (6.16V)
Talkback			3kΩ	50–600Ω Mics & 600Ω Lines	–	-60dBu (0.775mV)	-50dBu (2.45mV)	-30dBu (24.5mV)	XLR-3-31 Type (Balanced) *2

Analog Output Characteristics
Output Terminals	Actual Source Imp.	For Use With Nominal	GAIN SW *4	Output Level		Connector
				Nominal	Max. Before Clip
Stereo A, B [L, R]	150kΩ	600Ω Lines	+24dB (default)	+4dBu (1.23 V)	+24dBu (12.28 V)	XLR-3-32 Type (Balanced) *1
			+18dB	-2dBu (616mV)	+18dBu (6.16V)
Monitor Out [L, R, C]	150Ω	600Ω Lines	+24dB (default)	+4dBu (1.23 V)	+24dBu (12.28 V)	XLR-3-32 Type (Balanced) *1
			+18dB	-2dBu (616mV)	+18dBu (6.16V)
Cue Out [L, R]	150Ω	600Ω Lines	+24dB (default)	+4dBu (1.23 V)	+24dBu (12.28 V)	XLR-3-32 Type (Balanced) *1
			+18dB	-2dBu (616mV)	+18dBu (6.16V)
Matrix Out 1 – 8	150Ω	600Ω Lines	+24dB (default)	+4dBu (1.23 V)	+24dBu (12.28 V)	XLR-3-32 Type (Balanced) *1
			+18dB	-2dBu (616mV)	+18dBu (6,16V)
Mix Out 1 – 24	150Ω	600Ω Lines	+24dB (default)	+4dBu (1.23 V)	+24dBu (12.28 V)	XLR-3-32 Type (Balanced) *1
			+18dB	-2dBu (616mV)	+18dBu (6,16V)
Insert Out 1 – 48	150Ω	10Ω Lines	–	+4dBu (1.23 V)	+24dBu (12.28 V)	Phone Jack (TRS) (Balanced) 2 5
Phones (x2)	15Ω	8Ω Lines	–	75mW (*6)	150mW	Stereo Phone Jack (TRS) (Unbalanced) *3
		40Ω Phones		65mW (*6)	150mW

Digital Input Characteristics
Terminal			Format	Data Length	Level	Connector
2TR IN DIGITAL (*2)	1	AES/BU	AES/BU	24bit	RS422	XLR-3-31 Type (Balanced) *1
	2	AES/BU	AES/BU	24bit	RS422	XLR-3-31 Type (Balanced) *1
	3	COAXIAL	IEC-60958	24bit	0.5Vpp/75Ω	RCA Pin Jack
CASCADE IN			–	–	RS422	D-Sub Half Pitch Connector 68P (Female)

Digital Output Characteristics
Terminal			Format	Data Length	Level	Connector
2TR OUT DIGITAL (*3)	1	AES/BU	AES/BU Professional Use	24bit *1	RS422	XLR-3-32 Type (Balanced) *2
	2	AES/BU	AES/BU Professional Use	24bit *1		XLR-3-32 Type (Balanced) *2
	3	COAXIAL	IEC-60958 Consumer Use	24bit *1	0.5Vpp/75Ω	RCA Pin Jack
CASCADE OUT			–	–	RS422	D-Sub Half Pitch Connector 68P (Female)

SLOT (1-4) Characteristics
Each I/O SLOT accepts a Digital Interface card. Only SLOT1 has a Serial Interface.
Card Name	Function	Input	Output	No. of Usable Cards
MY4-AD	Analog In	4 In	–	4
MY8-AD24	Analog In	8 In	–	4
MY8-AD96	Analog In	8 In	–	4
MY4-DA	Analog Out	–	4 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY8-DA96	Analog Out	–	8 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY8-AE96	AES/EBU	8 In	8 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY8-AE96S	AES/EBU	8 In	8 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY8-AT	ADAT	8 In	8 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY8-TD	TASCAM	8 In	8 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY8-AE	AES/EBU	8 In	8 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY16-AT	ADAT	16 In	16 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY16-TD	TASCAM	16 In	16 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY16-AE	AES/EBU	16 In	16 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4
MY16-C	CobraNet™	16 In	16 OUT (Mix, Stereo, Direct, Ext Insert, Monitor, Cue, OSC, TB)	4

PW800W General Specifications
Power Requirements		100 – 240V, 50/60Hz 1000W (Max.)
Dimensions	W x H x D (mm)	480 x 132 (=3U) x 355
DC Output	Voltage	24V
	Current	23A (Max.)
Net Weight		10kg
Operation Temperature		10 – 35 °C
Storage Temperature		-20 – 60 °C

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PM5D / PM5D-RH

PM5D Digital Mixing Console for live applications with a choice of two configurations

Analog Input Characteristics (PM5D-RH)
Input Terminals	GAIN	Actual Load Imp.	For Use With Nominal	GAIN SW *4	Input Level			Connector
					Sensitivity	Nominal	Max. Before Clip
Input 1 – 48	-62dB	3kΩ	50–600Ω Mics & 600Ω Lines	–	-82dBu (61.6uV)	-62dBu (0.616mV)	-42dBu (6.16mV)	XLR-3-31 Type (Balanced) *2
	+10dB				-10dBu (245mV)	+10dBu (2.45V)	+30dBu (24.5V)
Stereo Input 1-4 [L, R]	-62dB	3kΩ	50–600Ω Mics & 600Ω Lines	–	-82dBu (61.6uV)	-62dBu (0.616mV)	-42dBu (6.16mV)	XLR-3-31 Type (Balanced) *2
	+10dB				-10dBu (245mV)	+10dBu (2.54V)	+30dBu (24.5V)
2TR In Analog 1, 2 [L, R]		10kΩ	600Ω Lines	+24dB (default)	-6dBu (388mV)	+4dBu (1.23V)	+24dBu (12.28V)	XLR-3-31 Type (Balanced) *2
				+18dB	-12dBu (195mV)	-2dBu (0.616V)	+18dBu (6.16V)
Talkback		3kΩ	50–600Ω Mics & 600Ω Lines	–	-60dBu (0.775mV)	-50dBu (2.45mV)	-30dBu (24.5mV)	XLR-3-31 Type (Balanced) *2

Output Characteristics
OUTPUT TERMINAL	FORMAT	LEVEL	CONNECTOR
DC OUTPUT	–	DC 24V	JL05-2A22-14PC 24pin (Male)

Included:
PW800W	External Power Supply Unit for PM5D. Light weight (3U, 10Kg) and accepts 100-240 voltage. Click here to view the PW800W

Optional:
PM LIGHT	Gooseneck Light *Available as replacement options. ( 3 pcs. included in PM5D, PM5D-RH ) Click here to view PM LIGHT

I/O Devices
MY8AEB - NEW!	8 channel AES/EBU format I/O with REF VIDEO Input and eXi-Clock synchronization
MY16C	16 channel CobraNet™ format I/O with dual network connectors
MY16AT	16-channel ADAT I/O
MY16AE	16 Channel Digital I/O Card MY16TD 16 Channel Digital I/O Card
MY8ADDA96	8-Channel Analog I/O MY8AD96 96 kHz Series Mini YGDAI Card
MY8DA96	96 kHz Series Mini YGDAI Card MY8AE96 96 kHz Series Mini YGDAI Card
MY8AT	MY8AE96S 96 kHz Series Mini YGDAI Card MY8AE Eight AES/EBU digital format I/O on a 25-pin D-Sub connector
MY8TD	Eight ADAT digital format I/O (optical connectors) MY8TD Eight TDIF digital format I/O (25-pin D-Sub connector)
MY8AD24	Eight 24-bit analog inputs on balanced 1/4" connectors
MY4AD	Four 24-bit analog inputs on XLR connectors
MY4DA	Four 20-bit analog outputs on XLR connector
Mixer Hardware
DCU5D Digital Cabling Unit – NEW!	Digital Cabling Unit for connecting PM5D and DSP5D with simple Cat5 cable

Mic Preamps
AD8HR	Remote controllable 8-channel A/D converter with supporting sampling rates of up to 96kHz.
MLA8	Eight-channel head amplifier based on the technology of DM2000 Digital Production Console mic pre.

Third-Party Interface Cards
16/o-Y1	AVIOM A-Net Interface Output Card (AVIOM Page: www.aviom.com)
AVY16-ES	EtherSound Interface Card (AuviTran Page: www.auvitran.com)
MYMADI64	MADI Interface Card (Audi-Service Page:www.audio-service.com)


Mix Window	Matrix Window	DCA Window	Stereo Window