Only the lazy did not draw an analogy between Yamaha musical instruments and the serious potential of its Hi-Fi equipment. And it’s true - it’s probably impossible to be closer to live music than the creators of virtuoso instruments. However, creators and connoisseurs often look at a masterpiece from completely different angles. The new corporate standard of audiophile sound has become the “five thousandth” series, the amplifier section of which we will get acquainted with today.
Experienced music lovers remember well that in the 90s of the last century, the mood on the market for stereo components was decadent, not to say panicky. Home theaters were becoming fashionable, and many sincerely believed that multi-channel receivers would be able to show off not only powerful digital processing systems, but also truly high-quality sound. However, time has put everything in its place.
Movie lovers and not too demanding music lovers really make do with receivers, uncompromising movie maniacs buy video processors with external amplification, but most audiophiles have returned to the good old two-channel technology.
It is not surprising that the Japanese hi-fi patriarchs enthusiastically joined in the process of reviving traditional musical values. Yamaha was even a little late in this sense, however, the closer you look at the flagship 5000 series, the more clearly you understand that its developers did not waste time.
To ensure proper operation, Operation, Connector Pin Assignments
Interference from cell phones
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Job
• When connecting speakers to the amplifier outputs,
use only special cables. Using other types of cables may cause a fire.
• When connecting to a device, turn off all
musical instruments, audio equipment and loudspeakers. Use appropriate cables for connection.
• Before connecting power to the device, always remove
volume control to minimum. A sudden burst of sound can damage your hearing.
• Do not use the amplifier for any purpose other than
working with loudspeakers.
• If the device is not used for a long period of time
time, such as during the holidays, unplug the power cord from the AC outlet. Otherwise there is a potential risk of fire.
Connector pin assignments
• XLR type connectors have the following pinout:
pin 1: ground, pin 2: hot (+), and pin 3: cold (-)
Interference from cell phones
• Using a mobile phone near the device
may cause noise. In this case, move the phone further away from the device.
— To ensure proper operation —
Always turn off the device when not using the amplifier.
The illustrations in this manual are for reference only and may not represent the actual product in operation.
Company and product names in this user manual are trademarks or registered trademarks of their respective companies.
Classics in an impenetrable shell
In combination with the S-5000 preamplifier and the M-5000 power amplifier, the ideas tested several years ago in the then top model A-S3000 were developed. But an integral is an integral, and in a truly serious setup, it is better to keep the delicate pre-processing and the unbridled power of the tip far away. This is how our elite couple was born, while the integrated concept was further developed by the A-S3200.
Of course, our tandem is designed in the same style. The design will make even those who did not have a chance to join high-fi in the era of its real heyday - the 70s and 80s - sigh with nostalgia. However, the materials and the class of their processing in our case are such that in the old days only a select few could afford to communicate with technology of this level.
Thick milled aluminum panels themselves serve as an excellent heat sink
The front panel is an aluminum plate 9 (!) mm thick, the top one is slightly thinner - 6 mm. There are two possible finishes: silver metal or black oxidized coating, but the side walls in any case remain wooden, with multi-layer glossy varnish.
It is interesting that if you look at the body directly from the front, they are almost invisible, and the devices take on a strictly technocratic appearance. But as soon as you slightly change your perspective, the bohemian piano varnish immediately makes you switch from thoughts about amplification modes to an emotional and aesthetic perception of the world.
The controls cannot be called anything other than luxurious. And the point is not even that they are all all-metal (this goes without saying), but in the processing class. Precision milling, soft polishing, finest matting - it feels like the design of the dashboard itself has become the embodiment of some complex musical form.
By the way, a certain rhythm is clearly visible in the arrangement of different-sized knobs on the S-5000 panel. The tone block and gain selector knobs, even with ventilation slots, form a harmonious linear structure.
The key design element of the M-5000 is, of course, the power dial indicators. By the way, their warm lamp (no joke!) backlight can also be adjusted or turned off completely. However, it is unlikely that anyone will dare to commit such blasphemy, because their movement, combined with music, has a literally hypnotic effect on the brain, worn out by everyday worries.
The topology of connectors in a classic stereo is well known to everyone; we only note the presence of balanced switching and delightfully large acoustic terminals machined from a monolithic brass billet.
The S-5000 also features an advanced MM/MC phono preamplifier, but digital ports are completely absent. That's not why engineers optimized every millimeter of analog signal circuits to turn a purist component into a compromise digital combiner.
Introduction
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Introduction
Thank you for purchasing our YAMAHA P7000S, P5000S, P3500S or P2500S power amplifier. These P Series amplifiers feature all of YAMAHA's technological brilliance and offer high reliability, stability, and superior acoustic performance - all in a compact 2U package.
Characteristics
• With two types of input jacks (balanced XLR and unbalanced
plug) and three types of output sockets (Speakon, clamp and plug), the P series amplifiers are suitable for a wide variety of applications.
• The device offers three operating modes: STEREO (where channels A and B operate
independently), PARALLEL (where the device outputs a mono signal in parallel), and BRIDGE (where the device combines two amplification systems into one powerful mono signal).
• Each channel is equipped with an independent OFF/LOW CUT/SUBWOOFER switch - where
LOW CUT turns on the high-pass filter, and SUBWOOFER itself turns on the low-pass filter. With LOW CUT or SUBWOOFER, you can adjust the cutoff frequency from 25 to 150 Hz.
• Each channel has its own SIGNAL and CLIP indicators.
• When the PROTECTION indicator is on, the sound is automatically blocked from the output.
occurs whenever the amplifier's protection circuit is triggered. The TEMP indicator lights up when the amplifier gets hot.
• Fans with low operating noise guarantee high reliability.
Please read this manual carefully before operating your amplifier so that you can take full advantage of the amplifier's features and have trouble-free operation for many years to come. After reading the manual, please keep it in a safe place.
Content
Controllers and Functions……………………………………………..6
Front panel ………………………………………………………………………………… 6
Rear Panel…………………………………………………………………… 7
Connecting acoustics……………………………………………………………9
Acoustic impedance…………………………………………….. 9
Connections………………………………………………………………………………10
Rack Mounting……………………………………………………….. 11
Technical specifications ……………………………………………………… 12
General technical characteristics…………………………12
Block diagram…………………………………………………………………………………..13
Dimensions………………………………………………………………………………………14
Work schedules…………………………………………………………….14
Trouble-shooting ……………………………………. 15
The truth is always the same
The source in the test setup was the network and SACD player Technics SL-G700. Acoustics: 3-way, 4-ohm Penaudio Serenade Sinnature towers with a pair of 14.5cm SEAS Exel drivers in the bass section.
The first touches of the knobs of a switched-on preamplifier can only be compared to driving a truly expensive car. The stroke of the volume drum is ideally smooth, elastic and uniform, which, however, is not surprising - the axis of a massive aluminum cylinder is mounted on ball bearings.
The operation of the Mute key is a special pleasure. It does not interrupt any circuits - simply when pressed, the main regulator automatically turns to zero.
I start my listening with the familiar Carmina Burana by Carl Orff, recorded by the London Philharmonic Orchestra. At first, almost ghostly, but already surprisingly intelligible voices are barely visible in the deathly silence. Their energy quickly grows, the second choir powerfully enters, the brass instruments explode behind it, and now the room plunges into a real symphonic abyss with many melodic and rhythmic parts. The dynamic range is simply enormous!
In this whirlwind, our couple managed to demonstrate an extremely successful fusion of dynamic, microdynamic and spatial characteristics. In a spectrum crowded throughout its entire length, it is very difficult to maintain the readability of individual instruments, and even more so to keep track of the intricacy of their parts without losing the sense of a single musical picture, even more so.
Thanks to the polished wooden sides, massive components can literally disappear into the interior
In the case of the S-5000/M-5000, the detailed detailing of an extremely complex phonogram did not even require a serious increase in volume. Among other things, this means that the engineers clearly worked hard on the problem of the first watt.
On the other hand, the power supply of the M-5000 is much more impressive than one would expect based on its rated power. The fast, confident performance of powerful bass, as well as the transparency of the stage at high gain levels, hint at very impressive power reserves.
Having noted in passing the decent spatiality (especially the excellent width of the musical stage and the accuracy of positioning in it), we move on to the analysis of the tonal balance in general and the features of vocal transmission in particular. By the way, the impartiality of such research was greatly facilitated by the Finnish Penaudio Serenade Sinnature speakers, which are far from the signature style characteristic, for example, of the Yamaha NS-3000 acoustics we recently tested.
All metal controls are processed with filigree care
Having listened to a fair number of familiar tracks, you understand that the tonal neutrality of our tandem is simply phenomenal. A variety of soloists and soloists - from Louis Armstrong to Jay-Z and from Beth Hart to Anna Netrebko - sounded very original, with easily recognizable signature features such as subtle hoarse modulations in Zaz's vocals, which are far from the canons.
On the other hand, the absence of accents (read: traces of uneven frequency response in the vocal subrange) did not allow them to sound brighter or more prominent than they were recorded. So the epithets “deep” or “velvety” could only be applied to those rare voices that deserve it by birthright.
