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Yamaha Launches RIVAGE PM5 and RIVAGE PM3 Digital Mixing Systems

Yamaha Launches RIVAGE PM5 and RIVAGE PM3 Digital Mixing Systems 

Yamaha recently announced the significant expansion of the RIVAGE PM Series digital mixing console family with the addition of the PM5 and PM3 control surfaces, and the DSP-RX and DSP-RX-EX DSP engines.

RIVAGE PM5
The PM5 is the latest in the evolution of the RIVAGE PM Series control surfaces.  In a similar layout to the RIVAGE predecessors, the PM5 features 3 Centralogic style bays, but now with a total of 3 large, capacitive touchscreens to allow for multi-finger gestures.  Yamaha has reduced the number of knobs in the third bay to reduce the overall footprint and make room for the integrated third screen. Additionally, meters that were previously above each channel’s ON button have been moved to be along the length of the fader for higher visibility and granularity.  Channel scribble strips have been removed – replaced with naming along the lower sections of the screen – bringing the touchscreens closer to the user for a more efficient reach across the entire console.

RIVAGE PM3
The PM3 scales things down with a 45-inch-wide surface (only slightly wider than a CL5 digital mixer) but retains the 38 faders – three bays of 12, with two masters – found on the PM10, PM7, and PM5.  Featuring a single, multi-gesture touch-panel display and condensed selected channel section, the PM3 is ideal for users needing a compact surface that packs the full punch of the RIVAGE series. Although slimmer in size, the console is compatible with both new DSP engines and does not compromise in I/O capabilities, including up to 288 input channels when paired with the DSP-RX-EX.

DSP-RX and DSP-RX-EX
The new brains of the RIVAGE series are an evolution of the modular DSP engine design and are available in two options.  The DSP-RX unit provides 120 inputs, 48 mix buses, and 24 matrices.  The DSP-RX-EX provides 288 inputs, 72 mix buses, and 36 matrices.  Both DSP engines are built on the same platform, so if you purchase a DSP-RX and need additional horsepower down the line, a DEK-DSP-RX expansion kit can be added to upgrade the DSP-RX to full DSP-RX-EX specifications.

Expansion of the Yamaha Ecosystem
All RIVAGE PM systems use the same I/O racks, the same firmware, and the same DSP engines (with the exception of the PM7 that has an internal DSP unit).  All surfaces feature the same basic fader configuration, and any console file would be compatible across the full line.  Like their predecessors, the PM5 and PM3 are directly compatible with TWINLANe and Dante networks using the necessary HY I/O cards.   A choice of two DSP engines with different mixing capacities, plus a total of five control surfaces including the two new models, gives engineers ample flexibility to create systems ideally tailored to a wide range of applications.

  PM5/PM3

DSP-RX-EX

 PM5/PM3

DSP-RX

 CL5 CL3 CL1
Input Mixing Channels 288 120 72 mono + 8 stereo 64 mono + 8 stereo 48 mono + 8 stereo
Mix Buses
 		 72 48 24
Matrices
 		 36 24 8
Stereo Bus
 		 2 2 1
Mono
 		 1 1 1
Cue
 		 2 2 1

 

In the most basic configuration, the newly released PM5 or PM3 has 120 inputs, 48 mix buses, and 24 matrices, and capable of running at 96 kHz.  In comparison, a CL5 has a maximum of 72 mono and 8 stereo inputs, 24 mix buses, and 8 matrices.  The CL and QL series console do have limited DSP capabilities (as well as the limit of running at 48 kHz), but the entire mix engine is built into the console, while the PM5 and PM3 surfaces need the external DSP engine in order to function.  It is also worth noting that an HY144-D card is needed to connect a PM series console to a Dante network, rather than having an integrated Dante port like the CL and QL series.

The PM5 and PM3 surfaces are a highly anticipated bridge between the functionality of the RIVAGE series and the price point of the CL series. For questions about designing a RIVAGE PM system, contact our sales team at 847-367-9588 or sales@tcfurlong.com.

Which mic is best for your event?

Comparing Lav vs Headworn and Omni vs Directional Mics

At TC Furlong Inc., we handle a significant number of wireless microphone system quotes for rental and purchase. Along with each of these, we typically walk customers through the myriad of choices including price points, sensitivity, attachment options, brands, antennas, etc.

Two of the biggest questions for customers when assembling a bodypack worn wireless system is “Lavalier or Headset” followed by “Omnidirectional or Directional.” Most of the time, the decision is not cut and dry, and each has their special application. Below is an explanation of how we typically work through the process, but first, here are some definitions:

Definitions

Lavalier Mics

Also known as “Lavs.” These are small (miniature) mics that often clip to a lapel, tie, or other piece of clothing. The goal with these is to be small and discreet. They commonly come in two colors, black and beige. The Black is often used for clipping to clothing and the beige is often used in theatrical settings. Because they are small, they can also be attached to an actor’s wigs or within scenery for certain theatrical applications.

Headworn Mics

These mics, also known as headset or earset mics, have similar capsules to lavaliers but are attached to a boom and are designed to be worn around the head. This form factor allows the capsules to be positioned as close to the users mouth as possible. The typically come with single-ear or dual-ear attachments and are available in a palette of colors to approximate skin tones.

Omnidirectional

This mic will pick up audio sources (ie. the presenter) from all directions. They have little to no “handling noise” (the incidental sounds of a mic cable brushing up against the presenter). They also have the most “natural” sound. That is, they reproduce the sound the most accurately, are not susceptible to wind noise, and are not as sensitive to positioning. On the downside, they are more prone to feedback and can easily pick up unwanted or environmental noise.

Directional

This mic will pick up audio sources only in one direction. These come in several forms, but most often they have the pickup pattern of “cardioid” or “hyper-cardioid”. While these mics are great for rejecting unwanted environmental sound (ie. crowd noise), they are more vulnerable to handling noise and wind (including the popping sounds of P’s or even breath sounds). They must be positioned carefully and are sensitive to changes in position of the mic relative to the source.

Which mic is best for you?

Lav vs. Headworn

Our typical recommendation for live sound applications is a headworn microphone. It has the ability to be placed close to the mouth in a static position and allows users to achieve the most consistent sound of a presenter. The headworn does require more adjustments to position correctly, but once it is placed, the consistency you achieve will be worth it. This is not only great for seasoned veterans in the industry but also for church volunteers.

Often the amount of physical activity of the presenter will direct your decision for a dual-ear or single-ear attachment. A dual-ear, headset model tends to stay in place better while the presenter walks (or dances) around a stage. With the single-ear, earset version, you will find most people will use a small piece of medical tape to help secure it.

If the presenter isn’t comfortable with a headset or prefers that the mic be more discreet, the lav might be the better option. Placement with these can be just as challenging to get right and often it boils down to the particular clothing the presenter is wearing. For instance, some low-cut dresses can be challenging to find a functional placement.

One of the plus sides to the lav is the ease and quickness that you can place it. If you have multiple presenters but only one lav, the changeover can be much quicker than a headset. The downside of a lavalier placed on a presenter’s chest is that audio levels will vary as the user moves their head.

In the end, it does come down to a compromise between aesthetics and engineering, so when making the decision, it is worth weighing the preferences of the presenter with the technical requirements of the production.

Omni vs. Directional

After you have made the decision on a lav or headworn style mic, you will need to decide whether to use an Omni or Directional capsule. Sometimes people make the mistake of thinking directional is always better, but this is not always true.

A good place to start when deciding is to know if there will be any sound reinforcement. If the application is a webcast, video recording, or broadcast, an omni would likely be a great choice. In these cases, there is no fear of feedback or rejection of other sources near the presenter, and the omni capsule will provide an open and natural sound.

Directional mics are best used when you have a ‘less than ideal’ situation and work well in on-stage applications. For instance, directional mics work better for a church or venue with a thrust stage that puts the presenter in front of the PA, or in a very reverberant space with a lot of ambient noise. It is important to keep in mind that placement of a cardioid element is vital and to pay careful attention to which direction the microphone is picking up the audio.

Conclusion

Choosing the right microphone is important to the success of your event. There are hundreds of variations and brands on the market and in our inventory, and these are just some of the factors to consider when making a decision. Our team is happy to discuss in more detail on a case by case basis to help guide you through your rental or purchase decisions.

For questions about the many lavalier and headworn microphone options in our rental stock, contact the rental team at 847-367-9588 or email at rentals@tcfurlong.com.

For questions about purchasing a microphone or wireless system, contact the sales team at 847-367-9588 or email at sales@tcfurlong.com.

 

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Alignment & Design Services

Alignment and design (A&D) should be the foundation on which every loudspeaker system is built, regardless of whether the system is large or small, temporary or a permanent installation. At TC Furlong Inc, our long-time core operating principal “Better Audio by Design” has a corollary: “Better Audio through Alignment”.

Loudspeaker system alignment complements and optimizes the performance of the loudspeaker system much like the balancing of tires and a front-end alignment optimize the benefit of the installation of new tires on your car.  It also maintains a smooth quiet ride and increased gas mileage.

Loudspeaker system design and alignment requires a blend of skilled craft, art, and science.  It demands practical experience, theoretical underpinnings, acute hearing, and prudent use of technology such as coverage prediction and measurements tools.

Our design and alignment team has almost 50 years of combined experience and are on duty and ready to tackle “back burner” projects that keep getting overpowered by a busy schedule. The range of projects we engage in include:

  • Providing a second opinion on an existing design
  • Ground up designs for new or renovated spaces
  • Formulating budgets for future projects
  • Tackling problems in existing rooms
  • Optimizing spaces in existing spaces for when things get back to normal

Email us today at align-design@tcfurlong.com with questions or to schedule a free phone consultation.

Repairs Highlight

Have a backlog of equipment that needs repair?

If you have overlooked items in need of repair, now may be the time to get ahead of the game. Whether your equipment is in need of repair, evaluation, re-termination, or custom fabrication/modification, we can help support your projects. 

And to help you through the backlog, TC Furlong Inc is reducing it’s repair labor rate by 30% for work scheduled through the end of April.

Repair / Evaluation / Testing – We are an authorized repair center for many of the brands that we use and sell, and routinely work on the full spectrum of professional audio gear.

Re-Termination / Custom Fabrication / Modification – TC Furlong can re-terminate old lavaliers/headset microphones with new connections, or fabricate custom cables and wiring to meet your installation or production needs.

Warranty Support – We can also act as an advocate in any warranty claims you may have.  If you purchased the equipment through TC Furlong, you might also be covered by our Warranty Support Advantage (click here to learn more).

Contact Scott Helmke at 847-367-9588 or shelmke@tcfurlong.com to schedule or discuss your project.

New in Rentals: Cozy Roadie Touring Chair

Newly available in TC Furlong Inc’s extensive rental inventory is the Cozy Roadie Touring Chair package. The Cozy Roadie is an executive-style office chair that easily disassembles and folds down for safe storage and transport in the included SKB Transit Case.

The key to the functionality of the Cozy Roadie is the quick release gas lift, which allows for speedy assembly and disassembly of the chair. The seat back also folds down, making this full-size executive office chair incredibly compact when disassembled. A Cozy Roadie in its Transit Case takes up far less space than a standard office chair, saving valuable truck space.

The molded polymer Transit Case is impact resistant and water tight to protect the Cozy Roadie from wear-and-tear inherent to life on the road, prolonging the life of the chair and saving money over the long haul.

If you’re interested in adding the Cozy Roadie to your next rental, contact the Rental Team at 847-367-9588 or rentals@tcfurlong.com

The Cozy Roadie is also available for purchase from TC Furlong! Contact the Sales Team at 847-367-9588 or sales@tcfurlong.com for a quote on the Cozy Roadie, or products from any of the other manufacturers on our line card.

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