RIVAGE PM10 is Yamaha’s flagship large-format digital mixing system — a control surface, a separate DSP engine and I/O racks tied together by TWINLANe, Yamaha’s own optical audio network. Fully expanded it addresses more than 3,000 inputs and outputs.

A system, not a console

RIVAGE PM10 is deliberately split into parts. The CS-R10 control surface is a control surface only; the processing lives in the DSP-R10 engine, and the I/O lives in RPio622 racks. Surface and engine talk over a dedicated Cat-5e ring — the Console Network — and the engine reaches the racks over TWINLANe on multi-mode fibre.

The practical consequence is that the surface can sit where the operator needs it while the processing and the I/O sit where the cable runs make sense, with the redundancy built into the rings rather than bolted on.

TWINLANe

TWINLANe is Yamaha’s own protocol, carrying up to 400 channels at 96 kHz over 300 metres of fibre, with low latency and ring redundancy. A single ring takes up to two DSP-R10 engines and eight RPio622 racks.

I/O that scales

Each RPio622 carries six RY card slots, accepting three types of I/O card — up to 96 mic preamps per rack. The rack adds two HY slots and the DSP-R10 four more, with two MY slots on each of the three hardware components for legacy and third-party cards.

The CS-R10 itself carries 8 × 8 local analogue I/O plus 8 × 8 AES3 with sample rate conversion, which is usually enough to get a show up without the racks in the room.

Processing and workflow

• Up to 384 effects processors running at once.
• Substantially extended Scene functions for complex show recall.
• Dual monitor busses.
• Four USB connections for storage, mouse and keyboard control, and two-track USB recording.

The wider family

PM10 is the top of a family that shares one workflow. The CSD-R7 puts surface and DSP in a single frame for PM7; CS-R5 and CS-R3 cover PM5 and PM3, driven by the DSP-RX (120 inputs, 48 MIX, 24 MATRIX) or the DSP-RX-EX (288 inputs, 72 MIX, 36 MATRIX). The CS-R10-S adds a second, smaller surface for dual-operator positions.

I/O scales the same way: the six-slot RPio622 and the compact two-slot RPio222 take RY16-ML-SILK mic/line inputs with Rupert Neve SILK, RY16-DA outputs and RY16-AE AES/EBU. Transport is chosen with the HY cards — HY256-TL on multi-mode fibre or HY256-TL-SMF for runs up to two kilometres, HY144-D for Dante, HY144-D-SRC where clocks do not match, and HY128-MD for MADI.

Rio-D3: Dante I/O for RIVAGE

Where the stage boxes should sit on Dante rather than TWINLANe, the third-generation Rio racks are the current answer. The Rio3224-D3 carries 32 analogue inputs, 16 analogue outputs and 8 AES/EBU outputs, with 26 receive / 32 transmit Dante channels; the Rio1608-D3 covers smaller positions with 16 in and 8 out. Both run to 96 kHz.

The D3 generation improves dynamic range and noise floor over the D2, and adds delay, polarity and gain on the output ports, a headphone socket for monitoring at the rack, and a separate control network port. Signal delay from Rio input to Rio output on a PM10 over Dante is under 1.7 ms at 96 kHz.

Rounding out the connected kit: RMio64-D bridges MADI and Dante, RSio64-D keeps existing Mini-YGDAI cards working inside a Dante system, and the SWP1 and SWP2 switches provide the etherCON and opticalCON network the whole thing runs on.

Where PM10 belongs

PM10 is specified where channel count, redundancy and recall discipline matter more than footprint: large touring productions, theatre, broadcast and installed systems in venues that run several different shows a week. Where the same user experience is wanted in a smaller or more portable package, the rest of the RIVAGE PM family — PM7, PM5 and PM3 — shares the workflow.

AMSYS is a Yamaha Commercial Audio Authorised Reseller, certified across all four tiers. Talk to us about system design, TWINLANe topology, I/O card selection and commissioning.