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We redefined what a high-end drum-set was
when we introduced Recording Custom in the 1970s. With the introduction
of PHX, we set the bar even higher by creating the ultimate musical
instrument for drummers.
PHX TQF:Turquoise Fade / Gloss Finish / Ash
The shells of the PHX are 11-ply hybrid shells. The woods used are
progressively harder from the center ply to the outer plies. The center
ply is jatoba; this is a very hard wood' and it "anchors" the
fundamental of the shell. Sandwiched on either side of this is kapur.
This wood is in the mahogany family and adds warmth to the sound of the
drum. The inner and outer plies are maple, except in the case of drums
using the optional burled ash outer ply. These drums use an outer
half-ply each of maple and burled ash. Maple rounds out the tone adding
high and mid frequencies to the shell.
Polar White
All drums have a 30° bearing edge, but each "family" of drums uses a
different profile. Bass drums have a sharper edge cut toward the outer
plies. This gives the bass drums attack and shortens the decay. Floor
toms have a slightly rounded edge to give them a perfect balance of
attack and sustain, making them very articulate at all dynamic levels.
Toms have an even more rounded profile for warmth and sustain. This
combination of shell composition and bearing edges makes PHX what many
of our artists described as "the most musical drums [they] have ever
played".
Textured Amber Sunburst
PHX uses redesigned versions of the Nouveau lug and YESS. The new lug
mounts on a square hook rather than a round post. This keeps the tension
rod in perfect vertical alignment and eliminates the need to use two
hands while tuning the drum. We used the aluminum die-cast hoops made
popular on our Absolute series for PHX. These hoops are very light but
rigid, giving you the open, warm sound of a triple-flanged hoop and the
accurate tuning of a die-cast hoop. Lugs and hoops are available in
chrome or gold.
The new version of the YESS mounting system supports the drum at the top
and bottom. The new version mounts the tom bracket onto a piece of the
shell, and that wooden plate is isolated or shock-mounted using rubber
grommets. A 3-piece fastening system is used to attach the new YESS to
the shell, and the inside and outside fasteners do not touch. This
system totally isolates the drum and allows the full tone to come
through and maximizes sustain.
Turquoise Fade
PHX is available with either maple and burled ash exterior plies, and
with gold or chrome hardware. The finishes available on the maple outer
ply are:
Profoundly accurate sound with the full expressive power of the music. Exceptional sonic purity, elimination of signal loss — in an exquisite, elegant design. The supreme culmination of the Yamaha line — the A-S3000.
Rigid streamlined construction — provides strict anti-vibration protection and enables shortest cabling routes
Large toroidal transformer, solidly mounted with independent three-dimensional inner frame
Comprehensive low impedance design, shortened signal paths and copper-plated chassis
1/4" thick top panel made of non-magnetic aluminum plate
Left-right symmetrical design for independent pre-amp and power amp blocks
Floating and balanced power amplifier with MOSFETs
All-stage balanced transmission
Direct drawing toroidal transformer for complete elimination of signal transmission loss
Exceptionally low impedance through secure screw connections
Superior quality electronic volume control for optimum sound
Discretely configured phono amp
Exquisite, large level meters reflect the dynamics in the music
Meticulously designed and beautiful in appearance — just like a musical instrument
Original speaker terminals for high sound quality, as well as beauty and ease of use
The A-S3000 has adopted a newly designed highly rigid double structure construction in order to achieve profoundly pure and accurate audio amplification. The bottom chassis and insulator ward off external vibration and provide each circuit board a floating structure supported by an independent inner frame, thoroughly eliminating the impact of vibration. And the power source unit, which consists of a power transformer and capacitors, which are major sources of internal vibration, is fixed firmly with a three-dimensional structured inner frame and is supported solidly by the front panel and the rear panel. The power amplifier circuit board and the weighty heat sink are attached to the left and right inner frames. The power supply unit and amplifier circuits are thus structurally isolated, achieving an ideal chassis structure which thoroughly blocks the transmission of vibration. Moreover, the inner frame that supports the power transformer is shaped with ample space below it, allowing passage of the wiring to each circuit over the shortest possible route. The newly developed chassis with this innovative structure helps to minimize the length of the signal paths and achieve low impedance, as well as providing high rigidity and anti-vibration benefits. The result is a dramatic reduction in signal loss, for remarkably pure audio amplification.
In order to achieve the absolute purest signal transmission, capable of communicating even the most subtle nuances of the music and its powerful dynamism—for example, reproducing powerful, agile low frequencies and portraying all the emotional nuances of the human voice—we've methodically pursued low impedance throughout the A-S3000. Using a double construction design creates space for cables under the bottom of the chassis, enabling the shortest cable path for the supply of power from the transformer to the power stage and for the audio signal transmission path. This helps to eliminate signal transmission loss and to smoothly supply power, even during high-volume transients, and allows more direct audio reproduction without even the slightest adverse effect on the music. Also, the three-dimensional inner frame to which the power transformer is mounted is copper-plated. Extremely low impedance is assured by lowering the ground potential. This sharply lowers the impact of noise and delivers a profound and richly emotional sound—one that perfectly communicates all the original expression of the artist.
The top panel and the front panel are made of aluminum, a non-magnetic material, in order to eliminate any adverse effect on the audio signals. In the course of strictest examination of the sound quality, the front panel thickness was set at 0.28” and the top panel was set at 0.24” . This helps to realize an exceptionally natural, spacious sound by providing a highly rigid chassis structure and at the same time, skillfully controlling the impact of vibration. Moreover, heat dissipation openings on the top panel were formed by high precision cutting from both sides—front and back—of the panel and finished with thorough scrupulous attention to every detail. Stylish slits in the center, matching the companion CD-S3000 and its design, strongly emphasize the powerful power source unit inside by having the same width as the power transformer.
The amplifier circuit design features independent preamplifier and power amplifier blocks and perfect left-right symmetry. Separation of the preamplifier, which handles low energy signals, from the power amplifier, which handles high-energy amplified signals, greatly reduces sound deterioration caused by mutual interference. Moreover, the left-right symmetrical design, which keeps the left and right power stages completely separate, ensures greater channel separation and enhances clarity of the stereo image.
The basic design of the power amplifier circuit adopts Yamaha’s proprietary Floating and Balanced Power Amplifier technology. Adopting output elements with the same polarity on the plus and minus sides of the output stage and also completely separating the NFB (Negative Feedback) circuit and power supply into a total of four plus and minus sides of the left and right channels, results in thoroughly symmetric push-pull operation of the output stage. Completely floating the entire power amplifier circuit from the ground removes any negative impact of minute voltage fluctuations or ground noise. Moreover, the output elements are comprised of MOSFETs, which provide a warm and natural sonic character. The use of MOSFETs, which have the same polarity on the plus and minus sides, further evolves the ideal of a complete symmetrical design, to eliminate sound quality variations due to difference in polarity—a major distinguishing characteristic of the Floating and Balanced Power Amplifier—resulting in sound with a superior signal-to-noise ratio and a superbly well-defined sound field.
The A-S3000 features fully balanced signal transmission. Moreover, the control system circuits (volume, tone, etc.) of the preamplifier feature totally balanced operation, realizing ideal balance in all stages.
The cabling of the power transformer adopts an ingenious method in order to significantly reduce impedance. The winding of the transformer itself is directly connected to the terminal with a screw, unlike with conventional cabling. This enables a power supply which thoroughly limits connection loss and energy loss caused by soldering. The toroidal transformer was selected with top priority on sound quality, contributing superior strength, as well as a profoundly natural and spacious sound.
In order to completely eliminate signal energy loss, important parts of even the circuits employ screw connections. In addition to wiring of the block capacitor of the power unit—which is the real heart of the amplifier and as such requires high power—screw connections were adopted for all crucial spots of signal transmission, including the connection of the preamplifier circuit with the power amplifier circuit, and the cabling to the speaker terminals from the output stage of the power amplifier. In addition to making the signal path as short as possible, this significantly lowers the impedance and greatly reduces signal loss.
The A-S3000 features large level meters on the front panel, giving a direct visual sense of the dynamics and pulse of the music. These beautiful meters are softly illuminated by LED, lending a warm, lamplight look. The meter indicators can, in addition to the VU display, be switched to peak display, and can be selected according to the user’s preference. Moreover, the glass window of the meters is diagonally cut and precision-fit to the back surface of the front panel, leaving no gaps and using no screws for connection—lending an exceptionally elegant appearance to the unit.
As befits a top-end audio component, the A-S3000 gives off the presence of a fine musical instrument, with absolutely no screws or fasteners that can be seen from the outside. Every single aspect of its construction and design exudes master craftsmanship and reflects an obsession with quality—a truly musical quality possible only for Yamaha, a world class musical instrument manufacturer. The amplifier with its refined design has been meticulously finished by the skillful use of advanced processing technologies: integrating the top panel and side wood connection, leaving no gaps while using different materials—metal and wood—for the connection.
The speaker terminals are the final link in the audio chain of this amplifier and have also been designed with meticulous obsession. The screw-type terminals have large handles and feature an original design that has been crafted by cutting pure brass to enable a secure connection with no reduction in sound quality. Moreover, the shape conforms nicely to the human fingers—not only creating an elegant visual impression, but also allowing users to turn them easily and to firmly tighten them with minimal force.
Since the controls—the volume dial, switches and so on—are the parts of the amplifier which users actually touch and feel directly, their surface texture and design were created with the strictest attention to detail. Individual controls such as the volume or input switching dials, emanate a richly elegant feel thanks to the use of cut aluminum knobs. Switches, including the power switch, were made with obsessive attention to texture in every detail; they were shaped with refined craftsmanship so that when they are raised or lowered, the gap between the switch and panel surface is impossible to see.
The supplied remote control features a design complementary to the aluminum panel of the amplifier itself, with a simple, easy-to-understand button layout and gorgeous metallic texture. In addition to the basic volume adjustment and input switching controls of the A-S3000, it can also be used for operation of the companion CD-S3000
Specifications
Maximum Power (8 ohms, 1 kHz, 10% THD) 130 W + 130 W / (4 ohms, 1 kHz, 10% THD) 210 W + 210 W
Minimum RMS Output Power (8 ohms, 20 Hz-20 kHz, 0.07% THD) 100 W + 100 W / (4 ohms, 20 Hz-20 kHz, 0.07% THD) 150 W + 150 W
Input Sensitivity/ Impedance CD 200 mV / 47 kilohm, Phono MM 2.5 mV / 47 kilohm, Phono MC 100 μV / 50 ohms, Main in 1 V / 47 kilohm
Frequency Response CD, etc. to speaker out, Flat position 5 Hz-100 kHz +0 dB / -3 dB, CD, etc. to speaker out, Flat position 20 Hz-20 kHz +0 dB / -0.3 dB
RIAA Equalization Deviation Phono MM (20 Hz-20 kHz) ±0.5 dB / Phono MC (20 Hz-20 kHz) ±0.5 dB
Total Harmonic Distortion (20 Hz–20 kHz) CD balanced to speaker out 0.025% (50 W / 8 ohms), CD, etc. to speaker out 0.025% (50 W / 8 ohms), Phono MM to Rec Out 0.005% (1.2 V), Phono MC to rec out 0.02% (1.22 V)
Signal-to-Noise Ratio [IHF-A Network] CD, etc., (200 mV, Input Shorted) 103 dB, Phono MM (5 mV, Input Shorted) 93 dB, Phono MC (500 μV, Input Shorted) 85 dB
Residual Noise CD, etc., IHF-A-Network
Channel Separation (1 kHz/10 kHz) CD, etc., Input 5.1 kilohm Terminaled 74 dB / 54 dB, Phono MM, Input Shorted, Vol: -30 dB 90 dB / 77 dB, Phono MC, Input Shorted, Vol: -30 dB 66 dB / 77 dB
Tone Control Characteristics Bass Boost / Cut (at 50 Hz) ±9 dB, Bass Turnover Frequency 350 Hz, Treble Boost / Cut (at 20 Hz) ±9 dB, Treble Turnover Frequency 3.5 kHz
Audio Muting -20 dB (approx.)
Load Impedance If you use two sets (A and B), the impedance of each speaker must be 8 ohms or higher.
The shells of the PHX are 11-ply hybrid shells. The woods used are
progressively harder from the center ply to the outer plies. The center
ply is jatoba; this is a very hard wood' and it "anchors" the
fundamental of the shell. Sandwiched on either side of this is kapur.
This wood is in the mahogany family and adds warmth to the sound of the
drum. The inner and outer plies are maple, except in the case of drums
using the optional burled ash outer ply. These drums use an outer
half-ply each of maple and burled ash. Maple rounds out the tone adding
high and mid frequencies to the shell.
All drums have a 30° bearing edge, but each "family" of drums uses a
different profile. Bass drums have a sharper edge cut toward the outer
plies. This gives the bass drums attack and shortens the decay. Floor
toms have a slightly rounded edge to give them a perfect balance of
attack and sustain, making them very articulate at all dynamic levels.
Toms have an even more rounded profile for warmth and sustain. This
combination of shell composition and bearing edges makes PHX what many
of our artists described as "the most musical drums [they] have ever
played".
PHX uses redesigned versions of the Nouveau lug and YESS. The new lug
mounts on a square hook rather than a round post. This keeps the tension
rod in perfect vertical alignment and eliminates the need to use two
hands while tuning the drum. We used the aluminum die-cast hoops made
popular on our Absolute series for PHX. These hoops are very light but
rigid, giving you the open, warm sound of a triple-flanged hoop and the
accurate tuning of a die-cast hoop. Lugs and hoops are available in
chrome or gold. 
