Yamaha P-2201 manual

YAMAHA AUTHORIZE D PRODUC T MANUAL P-2200/220 1 SYSTE M AMPLIFIE R[...]

P-2200/220 1 OPERATING MANUAL[...]

ABOUT THIS MANUAL SCOPE The P-220 0 i s a system oriented amplifier, made to b e used i n conjunction with mixers, consoles, frequency dividin g networks and speakers — those made b y Yamaha o r b y other manufacturers. Like any power amplifier, the P-2200's performance depends o n system design and installation, i n addition to it s own cap[...]

THE P-2200/2201 BRIE F OPERATIN G INSTRUCTIONS SECTION ONE INTRODUCTION SECTION TWO GENERAL SPECIFICATIONS SECTION THREE PERFORMANCE GRAPHS & A DISCUSSION OF SPECIFICATIONS SECTION FOUR THE DISTINCTION BETWEEN PROFESSIONAL AND HI-FI EQUIPMENT SECTION FIVE IMPEDANCE 1 OPERATIN G LEVELS 2 DYNAMIC RANGE 2 GAI N OVERLA P AND HEADROO M 4 INPUT SENSI[...]

THE P-2200/2201 BRIEF OPERATING INSTRUCTIONS Fig . 1 A - P-2200 Front Pane l Fig . 1 B - P220 1 Front Pane l A. Inpu t Attenuators Calibrated, stepped inpu t attenuators lower inpu t signal levels ahead of amplification stages. B . Pea k Reading Meters (P-220 0 only ) Meters display instantaneous (peak) power output int o a n 8-oh m load over a ful[...]

Fig . 2 A - P-220 0 Rear Panel* Fig . 2 B - P2201 Rear Panel * A. Input Connectors The two XL R input connectors on each channel ar e unbalanced and ar e wired i n parallel with each other and with the two phone jack s (tip/sleev e type). B . Input Polarity Switch Determines the polarity of the tw o XL R inpu t connectors (Pin 2 o r Pi n 3 " h[...]

INTRODUCTION The P-2200 is no t jus t "anothe r bi g amplifier; " i t is an exciting new approach to high power sound. Yamaha's leadership is clearly demonstrated by the P-2200's pro- fessional features, sophisticated design, and uncom- promising performance. PEAK READING METERS* Instead of the more common and slow responding VU[...]

GENERAL SPECIFICATIONS Power Output Pe r Channel: (Refer to Figure 3. Ambient room temperature for tests: 25-degrees Centigrade.) 200 Watts continuous average sine wav e power into 8 ohms with less than 0.05 % THD, (Total Harmonic Distortion), over a bandwidth of 20Hz to 20kHz, both channels driven. 23 0 Watts continuous average sine wave power int[...]

Controls: 22-position, log-linear, detented, and dB-calibrated INPU T ATTENUATORS (one per channel) attenuate inpu t signal i n 2dB steps from 0dB attenuation to -34dB, then steps of -37dB , -42dB, -50dB, infinity; Power (ON-OFF ) switch; INPU T POLARIT Y switches. Fuses: AGC (3AG) type, 7-amps x 2 parallel fuses fo r the AC lin e inpu t (U.S . and[...]

PERFORMANCE GRAPHS & A DISCUSSION OF SPECIFICATIONS NOTE: In the discussion beginning on Page FOUR 5, references to specific specifications assume normal stereo operation (not mono operation) unless otherwise indicated. Norma l (Stereo) Graphs Fig . 3 - Power Bandwidth vs Load Impedance Fig . 4 - Load Impedance vs Output Power Fig . 5 - Frequen[...]

Fig . 9 - Actual Output Impedance vs Frequency Fig . 1 0 - Crosstalk (Channel Separation) Fig . 1 1 - Phase Response vs Frequency Fig . 1 2 - Power Consumption Fig . 1 3 - Peak Program Mete r Accuracy (P-2200 only )[...]

Mono Mod e Graphs Fig. 1 4 - Power Bandwidth vs Frequency (Mono Mode) at 16 Load Impedance Fig . 1 5 - Load Impedance vs Output Power (Mono Mode) at 0.1 % T.H.D. , 1kH z Fig . 1 6 - Frequency Response (Mono Mode) at 16 Load Impedance Fig . 1 7 - T.H.D . vs Power Output (Mono Mode) at 16 Load Impedance Fig . 1 8 - T.H.D . vs Frequency (Mono Mode) at[...]

The following are actual oscilloscope photographs mad e b y an independent testing laboratory. The close vertical alignment of inpu t an d output traces i n Fig . 2 1 through 23 depicts very low phase shift, so the amplifier will not alter musical wave shapes. Fig . 21 - 10Hz Square-Wave Response The output waveform displays very respectable low fr[...]

POWER OUTPUT Types o f Power Ratings Peak power refers to the maximum undistorted power output of an amplifier. Most amplifiers cannot sustain their peak power ratings for long periods of time without externa l cooling fans. Because there are many different methods of rating a n amplifier's peak power, i t i s hard to objectivel y compare the [...]

Intermodulation Distortion , or I.M . i s characterized b y the appearance i n th e output waveform of fre- quencies that are equal to sums and differences of integral multiples of two o r more of the frequencies present i n th e inpu t signal. The difference between inter - modulation distortion an d harmonic distortion i s that two o r more diffe[...]

HU M AND NOISE Hu m o r noise fro m a power amplifier disrupts a program, and is irritating to a listener. Hu m and noise could b e considered a form of distortion. The P-2200's hu m and noise are so low that they ar e completely inaudible under any normal listening circumstances. RISE TIME Rise time i s a measurement of the amount of time an [...]

During the "overshoot" movement, the voice coil of th e loudspeaker interacts with the loudspeaker's magnetic assembly to produce a voltage called "back E.M.F. " (electro-motive force) . Thi s action i s similar to the operation of a dynamic microphone. I f the amplifier's output impedance i s low, this "back E.M.[...]

THE DISTINCTION BETWEEN PROFESSIONAL AND HI-FI EQUIPMENT I n most applications, a variety of auxiliary equipment will b e connected to the P-2200, including: mixers, tape machines, compressors, graphic equalizers, echo, time delay, and reverb units , and just about any other audio electronics imaginable. Regardless of the function of auxiliary equi[...]

Cables from hig h impedance sources (5000 ohms and up), should no t b e any longer than 25', even i f low capacitance cable is used; shorten the cables i f the impedance is higher. For low impedance sources of 600 ohms or less, cable lengths to 100 ' are relativel y effective. For very low impedance sources of 50-ohms or less, cable lengt[...]

Fig . 3 3 - Dynamic Range i n an Audio System NOTE: The P-2200 actually has a maximum signal to noise ratio of 110dB (which is its dynamic range!. The SYSTEM'S Dynamic Range is limited by acoustic noise at the mic input, for the system shown, and by the maximum signal to noise ratio of the PM-700 Mixer (93dB), a very respectable figure for a h[...]

The P-2200 i s designed for these wide dynamic range applications. I t has exceptionally low noise figures, and hig h headroom capabilities (high power output). I n addition, it s operating levels and impedances correspond with professional requirements. GAIN OVERLAP AND HEADROOM Yamaha PM-Mixers have +24d B (12. 3 volts) maximum outpu t levels. Th[...]

INSTALLATION AND DETAILED OPERATION PHYSICAL MOUNTING Shelf Mountin g The P-2200 can b e used on any surface, so long as there i s adequate ventilation. D o no t remove the P-2200's feet, since this would prevent air flow below the amplifier. Permanent Installation Rack Mounting Mount the P-2200 i n any standard 19 " electronic equipment [...]

Regarding Input Impedance and Terminations There i s sometimes a misunderstanding regarding the nature of matching or bridging inputs, the use of termi- nating resistors, and the relationship between actual inpu t impedance and nominal source impedance. Most electronic outputs work well when "terminated" by an inpu t (connected to an inpu[...]

Fig . 39A - Pads Constructed i n Mini-Boxes. above +30dBm, use 1 watt, low inductance resistors. 10 % tolerance is acceptable for most pads. Fig . 39B - Pa d Constructed i n Switchcraft Mode l S3FM I t is possible to construct a pad within an XL R con- nector, but the extremel y tight fi t can adversely affec t reliability. The Switchcraf t model S[...]

has a stereo phone jack input , bu t i f the inpu t source i s monaural, the transformer lead to the ring of the T.R.S . inpu t jack may b e moved to the jack' s tip so that a standard T.S . phone plug input will feed both transfor - mers. Alternately, the box may b e buil t with separate T.S . phone jack inputs, or with XL R inputs. Two stand[...]

bridging transformer box should b e used . Whil e matching or step u p transformers like those just described would maintain a balanced feed, several such boxes could over- load the source device. By using a transformer which has a hig h impedance primary and a hig h impedance secondary, the source can feed severa l P-2200 inputs without being over[...]

approximately -50d B (2.45mV) for a microphone , +4d B (1.2 3 volts ) for a line level signal. The exact volt- age i s not critical, and 1000Hz i s a standard reference frequency, bu t any other appropriate frequency can b e used. 2 . Set the inpu t channel level control o n the mixer a t it s rated "nominal" setting, and adjust the maste[...]

use, a cabl e with rubberized insulation and braided shield (such as Belden #841 3 or #8412 ) will handle easily and surviv e road abuse; for permanent wiring, a viny l insulated cable with a foil shield (such as Belden #8451) i s easier to strip fo r terminations, and i t pulls through conduits with less drag. Fig . 47 - "Chaining " o f [...]

Th e preparation o f complete cables, wit h connectors properly installed , i s the ke y to reliabl e and trouble-free operation o f any sound system. Fo r this reason , the fol- lowing illustration s are included . Experienced audio technician s may wish to review these illustrations , even i f they already know how to wire connectors. A few momen[...]

WIRIN G A MALE XLR CONNECTOR Pan s identification (as the connector i s usually packaged). Inser t strai n relief i n rear of shell . Then slip shel l ont o cable end , followed b y insulatin g collar. Stri p outer insulatio n 1/2" . (No . 841 2 cable illustrated here.) Cu t tracer cord , unbrai d shield , cu t cotton strai n relie f cords. St[...]

WIRIN G A FEMALE XL R CONNECTOR Parts identification (as th e connector i s usually packaged). Insert strain relief i n rear of shell. Then slip shell onto cable end, followed by insulating collar. Stri p outer insulation approximately 9/16" . (No. 8451 cable illus- trated here) Pul l off foil wrap. Strip approximately 5/16 " of insulatio[...]

WIRIN G A STANDARD PHONE PLUG (2-conductor) Parts identification. Slide shell, then insulating colla r over cable end . Strip outer insulation for lengt h equal to length of sleeve con- nection. Unwrap or unbraid shield, twist to form lead. Position outer insulation just ahead of cable clamp, strip center conductor from poin t just behind ti p con [...]

Us e o f the Input Polarit y Switch o n th e P-220 0 Th e XL R inpu t connectors on the P-2200 are un - balanced. I n one position, the switch beside the con- nectors attaches pin 2 to pi n 1 (ground) leaving pi n 3 "hot " (USA standard). I n the other position, the switch attaches pi n 3 to pi n 1 (ground) leaving pi n 2 "hot "[...]

if higher quality transformers were used. Thus, "economy" transformers, may actuall y cos t more i n the long run than higher quality professiona l types. For a n existing system wit h lower quality 70-volt transformers, a capacitor in serie s with the output of the P-2200 can limit the current at low frequencies (se e Page SEVEN 6), and [...]

grounding and shielding, and b y the use of balanced, twisted pai r cables. EMI: EMI (electro-magnetic interference) usually comes from power transformers (either i n a sound system, or a building' s electrical supply) , motors, or cables carryin g large amounts of current. EMI usually shows up i n a sound system as a hu m or buzz. Twisted pai[...]

Fig . 5 8 - Avoiding Ground Loops i n an Unbalance d System . I n any audio system, there are numerous ways b y which ground loops can b e created. Fo r example, i f a microphone feeds two mixers through a splitter device, and the two mixers are AC grounded through their power cables, a ground loop i s formed. I n this case, it's better to lif[...]

Fig . 61 - Us e o f Ground Lift Switch system. This problem is usually most noticeable with sensitive equipment such as the mixer. Lifting the AC ground at the mixer can often solve this problem. However, lifting the AC ground on the mixer also lifts the AC ground o n the microphone chassis, causing a safety hazard. Try connecting the mixer and any[...]

Fig . 62 D - 110 V AC Outlets with Lifted Neutral. Outlets will operate with voltage varying from 0 to 220V AC creating shoc k hazard and causing possibl e equipmen t damage. 220 V AC o n 110 V AC Outle t I t i s possible (albeit, illegal and dangerous) for a 220V AC circuit to b e connected to a 110 V AC outlet as shown i n Figure 62E. Fortunately[...]

Fig . 63A - Inpu t Splitter Transformer Setup to Operate P-220 0 i n "Mono " Mode . Fig . 63 B - Outpu t Connections for Operating P-2200 i n "Mono " Mode. I n th e "mono " mode, the P-220 0 will produce a full 400 watts int o a 16-oh m load. Th e voltage output from the P-220 0 i n the mono mode i s approximately 75 v[...]

APPLICATIONS BIAMPLIFICATION AND TRIAMPLIFICATION Biamplification, o r "biamping," triamplification, o r "triamping, " all refer to the use of separate power amplifier s to cover separate portions of the audio spectrum. The traditional, non-biamplified speaker system i s diagrammed i n Figure 64A . The crossover network, which r[...]

8-ohm load, i t must be rated at 366 watts (power is proportional to voltage squared). Since the P-2200 i s only capable o f 230 watts, this waveform i s clipped, especially the high-frequency component. I f the same two waveforms i n Figure 65A and Figur e 65B were reproduced b y two separate amplifiers, the total amplifier power capacity needed w[...]

woofer , midrange and tweete r must b e the same fo r most passive, hig h leve l crossove r systems). If possible, choose the crossove r frequency and slop e b y the criteri a describe d i n the previous paragraphs. Also, choose a passive , high leve l crossove r with adequate power handling (fo r reliability) , good quality components (fo r low lo[...]

EQUALIZATION, HIGH AND LOW PASS FILTERS Equalization, originally, was the process of "equalizing" the levels of the various audi o frequency band s for a "flat" system response. The term now encompasses many different devices and techniques that are used for effects purposes as well as to "smooth" the response of a sys[...]

medium. At the same time, the studio monitors or audience foldback system migh t require graphic equali- zation to suit very different ends. Professional graphic equalizers are usually more durable than hi-fi type units , and they operate at nominal +4dB (1.2 3 volts ) line levels. Th e inpu t of a hi-fi type graphic equalizer will probably require[...]

range, the clipping may sound like an irritating sizzle that only happens o n certain sounds. Similarly, clipping i n the low frequencies can cause bass notes to sound fuzzy o r muddy, o r i t can cause mid-range frequencies to b e harsh. Yet because the clipping only takes place o n certain sounds, i t may not b e immediately apparent that clippin[...]

frequencies o r very hig h frequencies, such as RF oscilla- tions. Some 70-volt transformers have attached pro- tection capacitors for use with hig h frequency drivers. "Auto-transformers" (all taps from the same winding) are sometimes used to match speaker impedances. Th e auto-transformer provides many of the same protections as a 70-vo[...]

Concert Sound Figure 7 3 illustrates the P-2200 i n a typical setup for concert reinforcement. Note that there are a number of completely separate feeds, with separate limiters, equalizers, electronic crossovers, and power amplifiers. The P-2200's peak reading meters are a special advantage i n concert sound systems. They indicate the amount o[...]

Portable Instrument Amplifier Figure 7 4 details possible connections for a portable setup for an electric bass. Ideal fo r this application, the P-2200 can easil y reproduce the hig h power bass notes that may b e clipped of f b y lower power instrument amplifiers. Thus, i t will "clean up " a bass sound, and , because clipping i s dange[...]

Discotheque Disco systems, such as the one diagrammed i n Figure 75, really test an amplifier's endurance. The music from a record album may b e highly compressed so that its average power content i s high, and the amplifier may no t get even a short rest during many hours of operation each night . With its massive heat sinks, and hig h averag[...]

Commercial Sound Systems Figure 76 diagrams a theatre reinforcement system fro m the viewpoint of its power amplifier. Note the time delay device that feeds the P-2200 for the under- balcony distributed speakers. This P-2200 is connected for "mono" 70-volt operation; the main P-2200 i s connected for biamplified operation. I n a smaller t[...]

The factor y paging/background music system i n Figure 77 also shows the P-2200 used i n "mono" 70-volt mode. One P-2200 feed s th e main factor y areas with a highly compressed signal. The other P-2200 feeds offic e areas with a separate, less compressed signal that has been equalized fo r a more natural sound. This setup also allows sel[...]

APPENDIX DEFINITION OF TERMS: dB, dBV, dBm an d dB SPL The term dB, which means decibel (1/10t h of a Bel) expresse s a ratio. The dB notation allows u s to represent ver y large ratios with small numbers which ar e easier to understand and use. The ratio i n dB of two power levels i s equal to 1 0 times the (base 10 ) logarithm of their simple num[...]

b e valid only at a single load impedance, usually 600 or 15 0 ohms. It's common to rate a mixer's maximum output i n dBm referenced to 600-ohms, and to treat this rating as i f i t were a voltage rating, even though i t i s actually a power rating. I f a mixer's maximum output is rated at "+24dBm," the rating reall y means[...]

The Voltage across the Resistor i s Less Than the Source Voltage du e to the voltage dro p across the output resistor R O : An "Impedance" i s some combination (one, two, three or more components connected together i n a circuit) of Resistors, Capacitors and Inductors. Fig . 8 0 - Elements of an Impedance. simple ohmic value, so long as o[...]

Fig . 81 - Series an d Parallel Impedances. VOLTAGE AND CURRENT DIVISION When two or more impedances are connected i n series across a voltage source they share the voltage among themselves according to the following formulas, where N i s the number of impedances: (see Figure 82) Fo r two impedances: For any number (N) of impedances: I f the ohmic [...]

BALANCED, UNBALANCED, AND FLOATING CIRCUITS Unbalanced, balanced and floating circuits may all b e transformer isolated. The distinction between them lies i n the way the circuits are referenced to ground (audio common). A FLOATING circuit has n o ground reference, as illustrated by the Yamaha PM-180, PM-430 and PM-700 Mixers ' Channel Inputs [...]

NOTES: "N 1 " i s the numbe r o f turn s o n th e primary sid e o f th e transformer, "N 2 " i s the numbe r o f turns o n the secondary side o f the transformer. "V 1 " i s the voltage level o n th e primary side o f the transformer, "V 2 " i s the voltage leve l o n the secondary side o f the transformer. &[...]

SINCE 188 7 YAMAHA[...]

YAMAHA Yamaha Corporation o f America P2200/220 1 OM 660 0 Orangethorpe Avenue, P.O . Box 6600, Buen a Park , CA 90622-6600 11/17/9 8 98109[...]