Manuale d’uso / di manutenzione del prodotto P-2201 del fabbricante Yamaha
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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.
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 DISTIN.
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.
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).
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.
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.
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.
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 .
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 .
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 .
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.
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.
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.
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.
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.
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.
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.
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 acousti.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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 .
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.
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.
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.
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.
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.
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.
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.
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.
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 .
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.
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.
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.
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.
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 . 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 .
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).
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.
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Se non hai ancora comprato il Yamaha P-2201 è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del Yamaha P-2201 - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso Yamaha P-2201 imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul Yamaha P-2201 ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il Yamaha P-2201, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del Yamaha P-2201.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il Yamaha P-2201. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo Yamaha P-2201 insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
