Up to two DSP5D units can be used with a single PM5D console. A PM5D plus one DSP5D gives you 4 input fader layers, with a total of 96 mono and 16 stereo input channels, while adding two DSP5D units to a PM5D provides 6 layers with 144 mono and 24 stereo input channels to comfortably handle large-scale applications. And of course your processing power is doubled or tripled, respectively. Like the PM5D itself, all analog inputs

and outputs are directly accessible via standard XLR type connectors.

After a few simple connections the DSP5D becomes an integral part of the PM5D console, and can be controlled from the PM5D control surface in the same way as the internal functions. So although you have significantly upgraded the system, you can simply plug in your sources and output devices and use it right away without having to work through another learning curve.

If the DSP5D will be located near the PM5D V2 at the front-of-house position, you can connect it to the console via a pair of D-sub 68-pin cascade cables. In the setup shown here, with a single DSP5D cascaded to a PM5D V2, you have 96 microphone inputs and 48 omni outputs (24 Mix buses, 16 Matrix buses). Other peripheral gear such as a playback device for BGM and/or effects can be mounted in the same rack as the DSP5D.

If the console needs to be located a significant distance from the stage you can add a DCU5D Digital Cabling Unit so that the DSP5D can be located on stage and connected via a digital snake consisting of a single CAT5 Ethernet cable. The DCU5D is connected to the console via a pair of D-sub 68-pin cascade cables. In addition to the 48 inputs and 24 outputs provided by the PM5D V2 itself, you now have another 48 microphone/line inputs and 24 omni outputs on stage. (Totally 24 Mix Buses, 16 Matrix buses, 48 OMNI outs). Of course, all DSP5D functions can be controlled directly from the PM5D V2 console. You could also add one or two MY-card output interfaces such as the MY8-DA96 to the DSP5D, and use them to drive an on-stage power amp rack for monitors and FOH speakers.

In this system, which is designed primarily for an opera-house type situation, one DSP5D unit is located in the orchestra pit while the second DSP5D unit is located on stage. As in the preceding systems a DCU5D is connected to the console at the rear of the house via the D-sub 68-pin and CAT5 cascade cables, and an Ethernet cable connects to the first DSP5D. The second DSP5D is connected to the first DSP5D via a DCU5D unit in the same way. This makes 48 microphone/line inputs available in the orchestra pit, and another 48 microphone/line inputs available on stage. The DSP5D head amps can be controlled directly from the PM5D-RH V2 console. A pair of DME64N units connected to the stage DSP5D outputs perform processing and distribution for the FOH speakers, box-seat speakers, and a back-stage speaker system. The orchestra pit DSP5D directly feeds powered monitors for the musicians in the pit.