Yamaha introduces to the market their systems of digital mixing Rivage PM5 and PM3

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These two new control surfaces, along with two DSP engines are the latest additions to the product range of professional audio.

Systems digital mixing Rivage PM5 and Rivage PM3 that Yamaha just introduced to the market give audio engineers more options and flexibility to produce the optimum sound in most applications, which, as indicated from the manufacturer, democratizes, more than ever, the high-end audio.

Yamaha Rivage PM is a very well-regarded among professional engineers for its optimum quality sound and flexible control flexible. The models Rivage PM10 and FP7 have already been developed as systems for digital mixing of reference of the market that now, with the new PM5 and PM3, more compact size, bring new levels of flexibility and scalability, in addition to including all the functionality of the Rivage PM.

The choice of two DSP engines with different mixing capabilities, which is added to these new models, it gives sound engineers a remarkable flexibility to create custom systems for a range of applications much broader.

The fundamental components of the new systems Rivabe PM5 and Rivage PM3 are the control surfaces CS-R5 CS-R3 that have the same settings of faders that the rest of the series Rivage PM, with three compartments twelve faders each.

The combination of touch screens and controls of channel provides intuitive functions that will be familiar to users of the series Rivage PM, while facilitating access to those who know the consoles of the series CL and QL of Yamaha.

The control surface CS-R5 for systems Rivage PM5 incorporates three touch screen 15” capacitive, with a display of high brightness suitable for use with daylight and a section of channel selected condensed that allows you to use it easily and intuitively. To maximize the size of the screens has reduced the depth of the control surface, facilitating the access to both of these as controls.

The indicators that are next to each fader allow you to accurately track and provide excellent visibility to facilitate level adjustments. With only 42 Kg. weight, control surface CS-R5 is also considerably more lightweight, which facilitates their transport and handling by just two people.

For its part, the control surface CS-R3 to systems Rivage PM3 includes all of the functionality and the performance of the series Rivage PM on a console that measures only 1,14 meters wide, which makes the console more compact of the range; ideal for enclosures in which the space is reduced.

Rivage CS-R3 has a screen with a single touch panel, of the same type as in the CS-R5, and a section of channel selected condensed that, together, offer a simple control and intuitive. In addition, a complete range of controllers-physical, make this model an excellent choice for applications monitor.

New DSP engines

The ‘brain’ of any system the Rivage PM is the DSP engine. The two new units that incorporate the engine, DSP-RX, which provides 120 inputs, 48 mix buses and 24 matrix, as well as the DSP engine-RX-EX, with 288 entries, 72 mix buses, and 36 matrices.

If it is necessary more capability to the DSP-RX, the user can add an expansion board DEK-DSP-RX to upgrade to the full specifications of the DSP-RX-EX. The new DSP engines also allow the duplication of DSP: it is possible to use two motors DSP-RX, or two DSP-RX-EX in the duplicate settings in applications that require fail-safe redundancy.

The ecosystem Rivage PM

All systems Rivage PM use the same DSP engines, racks of I/O and firmware. This means that, whatever the control surface is used, the sound, the features and the basic operation are consistent.

The function of dual-console system allows you to use a second control surface as a secondary computer, for example, a mixture of room, as a monitor console, or as a secondary computer, depending on the requirements of the user.

All models have the same settings of faders, basic, with three banks of twelve faders, so that it is possible to maintain the same layout of faders when using different control surfaces on different days of a tour, for example.

To the equal that the models Rivage PM10 and FP7, the new PM5 and PM3 offer direct compatibility with the network audio Yamaha TwinLANe, with capacity for four hundred simultaneous channels of audio with extremely low-latency, and the network Dante Audinate, which is used standard on all digital consoles CL and QL and other audio products from this manufacturer.

The models Rivage PM5 and PM3 inherit fully the philosophy Yamaha Rivage PM-behind, which allows you to use any rack I/O compatible to capture with fidelity the sound of the stage, without colouring, and add creative touches if necessary.

Firmware version 4.0

The presentation of Rivage PM5 and PM3 also coincides with the version 4.0 of the firmware for the entire series Rivage PM, which updates important functions and the user interface, with the addition of special add reverb SP2016 of Eventide, which provides a great selection of presets of high quality and the editing engineers who wish to customize their sound.

To Ray Maxwell, vp. sales and marketing of Eventide, “the distinctive reverb of the SP2016 the original have been used in countless hits for almost forty years and can be heard on albums by Adele, Mariah Carey and Eminem, among others. We’re honored to partner with Yamaha to bring the reverb of the SP2016 (Room, Stereo Room, and Hi-Density Plate) to the series Rivage PM with the software 4.0”.

Yoshi Tsugawa, senior general manager of Yamaha Audio Business Division, has stated that “the availability of the two DSP engines with different mixing capabilities, plus the two new control surfaces, offers much greater flexibility to create custom systems for applications of almost any scale.”

With the incorporation in addition to systems, Rivage PM10 and FP7, Yamaha now has an ecosystem of mixture able to offer the maximum levels of flexibility, performance, and scalability necessary for events of the highest level and in any space, from the largest arenas and festivals to small halls and theaters, without compromising the maximum quality of sound,” says Tsugawa.

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