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Yamaha EMX5016CF Musical Instrument User Manual

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2. o OGAME Oy J ELE Si EEN 0 TOO OG E 0 GOO OSES n NEE SPEAKERS jacks Connect up the speakers and your input devices microphones instruments etc RIGHT Use non powered speakers and dedicated speaker cable Connect one speaker to SPEAKERS jack A A1 or A2 and the other to jack B B1 or B2 Then connect your input devices microphones guitar etc to the appropriate input jacks on the top panel For details see page 33 AN CAUTION e Before connecting input devices to the EMX be sure that all of these devices including microphones are powered off And before turning 7 the power to any device on or off be sure to turn the volume of that ZI device all the way down M e Never connect both A and B jacks to a single speaker Connection of both jacks to the same speaker may result in damage to the mixer NOTE We recommend that you avoid connecting electric instruments Such as elec tric guitars and basses directly to the EMX Instead these instruments should be connected through an intermediary device such as a direct box a preamp guitar amp or an amp simulator A e A ARR Uu ARK AM Du D
3. CLEAR CLEAR 38 AUTO MANUAL MAXIMIZE FEEDBACK SUPPRESSOR PHANTOM POWER AMP LIMITER 48V YSE 500W L R Rm PEAK gem 200W S D vee 75W AUX1 AUX2 S 8 2 LION M4 Gan Bram SA e dhal 4 LARGE STAGE 2 E o Ei 5 SMALL STAGE1 Se A St D Zete 6 VOCAL ECHO TALS BBHALL2 2 BOONE 3 ch 7 9 Zi dhal 4 RTE j ch e 5 SMALL STAGE2 KARAOKE 16 5 7 KARAOKE PROGRAM 8 DELAY ECHORUS 9 II PARAMETER J EARLY REF PARAMETER PHASER NIGATE REVERB f EI FLANGER Li ZAN e 2JREVERSEGATE y 2JSYMPHONIC ae ie ist e Ke DOUBLER E A 14 SINGLEDELAY A A AUTO WAH MIN MAX DYNA FILTER MINI MAK DISTORTION PITCH CHANGE 6 RADIO VOICE PROGRAM 8 DELAY DIGITAL MULTI EFFECT PROCESSOR CH1 8 MUTE fi ei FRC MEASURE CORRECT switch FRC Frequency Response Correction System can measure the frequency characteristics of the sound field and apply the correction curve to the GEQ auto matically The MEASURE mode measures the fre quency characteristics and the CORRECT mode applies the correction curve to the GEQ according to the measurement results For details on using FRC refer to page 30 EMX5016CF Owner s Manual e MEASURE mode There are two measurement methods noise measure ment engaged by pressing and holding the MEA SURE CORREC
4. ep KARAOKE KARAOKE PROGRAM 8 DELAY PROGRAM 8 DELAY CHORUS CHORUS PARAMETER EARLY REF PARAMETER PHASER 4 E CATE REVERB FLANGER H EE Gl e QJREVERSEGATE e M lzcMpuON z TREMOLO 5 DOUBLER P 2 SINGLE DELAY A A AUTO WAH MINA MAX I5 DYNA FILTER MINS MAX 15 DISTORTION 16 PITCH CHANGE RADIO VOICE SX DIGITAL MULTI EFFECT PROCESSOR EFF10N EFF 1RTN EFF2RTN ST SUB OUT Jacks These unbalanced phone jacks output the mixed stereo signal L and R where the level is adjusted by the ST SUB OUT control You would typically use these jacks to connect to an external mixer or a supplemen tary SR system REC OUT Jacks These RCA pin type unbalanced output jacks can be used to send the main stereo signal to an external DAT recorder or cassette recorder The jacks output the ste reo signal pre adjustment by the ST master fader and graphic equalizer 9 As the signal is not adjusted by these controls please be sure to make appropriate level adjustments at the external recording device side EFF1 2 ON OFF Jacks These phone input jacks are for connection to a sepa rately sold FCS foot switch The foot switch can be used as an alternative to the ON switch to toggle the effector on and off ST OUT Jacks These unbalanced phone jacks output the mixed stereo signal L and R where the level is adjusted by the ST master
5. A4 on the piano keyboard In the same way you can halve the frequency to 220 Hz to produce A2 an octave lower Boost with Caution If you re trying to create special or unusual effects go ahead and boost away as much as you like But if you re just trying to achieve a good sounding mix boost only in very small increments A tiny boost in the midrange can give vocals more presence or a touch of high MID Flat 9 HIGH Boost MID Boost HIGH Flat 09 boost can give certain instruments more air ZS Listen and if things don t sound clear and D clean try using cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity One of the biggest problems with too much boost is that it adds gain to the signal MID Cut increasing noise and potentially overloading the subsequent circuitry Frequency Hz EMX5016CF Owner s Manual Mixer Basics Making the Most of Your Mixer Ambience Your mixes can be further refined by adding ambience effects such as reverb or delay On the EMX mixers these effects are built in The internal DSP Digital Signal Processor can be used to add reverb or delay to individual channels in the same way as external effects processors with the extra connections required by or the loss in sound quality often caused by external processing Refer to page 22 You need to be careful not to overdo effects however because goin
6. YAMAHA aat FS WER SS S SS St POWERED MIKER i Owner s Manual Bedienungsanleitung Mode d emploi Manual de instrucciones Pages 7 to 11 Making the Most of Your Mixer Pages 12 to 18 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL The above warning is located on the rear of the unit Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the product IMPORTANT SAFETY INSTRUCTIONS Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that p
7. Front amp Rear Panel s ccccccsssecssnscneeeceeneeesneeeenseesnueeeaeeesasneeueeeuseesuenesuenesagns 19 MIO ein Each Channel EE 19 Digital ue Ee EE 22 WA AI AA 23 Rear Panel ia AAA AAA AAA AA TE EAE E 28 Speaker CONNECTIONS ssassnananuanu namuna aanza manana na manana nuna nua nuna nunua RR nnnm 29 2 channel Connection ageseent ENEE Eed 29 2 channel parallel connection getest Eege 29 Setting the GEQ with the FRC function sssusamsnunanunzuanannuaaaanuaaaanuna 30 Rack INO INN aso tian pose ew te ate ceeds ai 32 SC Aa 33 MFOUDICSMOOUING D 34 Specifications vocesrnve scan ens tune as cencayiedeasceesmneseasnegscnesuccauneavsuadegseanstestacneestaseecanenesds 35 EMX5016CF Owner s Manual Features II eil In E page 19 The EMX offers 12 monaural mic line input channels 1 to 15 16 and four stereo input channel pairs 9 10 to 15 16 allowing you to freely mix inputs from microphones line level devices and stereo devices For example you can mix eight microphones with four stereo devices or ten microphones with two stereo synthesizers High Quality Digital EffeCtS msssmssmumsznunnznunzanuanunuanunzananaaauna page 22 The mixer s internal effector two blocks is in the same league as our SPX effector series allowing you to create a rich range of variations with no external help But of course you are also free to use the SEND EFF Jacks to connect to an external
8. To set the switch on press it in so that it lights up e PFL switching and output are not affected by the ON switch You can monitor the channel s pre fader signal through the PHONES jack even when the ON switch is set off The PFL CO 9 and AFL switches select the mix to be monitored at the PHONES jack If the channel s PFL or AFL switch is ON the chan nel s output is mixed into the monitor signal to the PHONES jack If both switches are OFF the chan nel output is not fed to the PHONES jack Channel Fader Adjusts the signal s output level Use these faders to adjust the volume balance among the various channels Neu To reduce noise set the fader sliders for unused chan nels all the way down EMX5016CF Owner s Manual oc d Front amp Rear Panels Digital Effects Section 63 125 250 500 1k 2 8 CDB k USER1 eeng USER 3 az USER3 8 D ON ON DETECT PHANTOM POWERAMP LIMITER 48V Sc es D Wee Age 3 EFFECT 1 EFFECT2 1 GINER Eha 2 2 EONA 9 MAXIMIZE 7 KARAOKE PROGRAM 8 DELAY ECHORUS PARAMETER MQ EARLY REF Guy MINGATE REVERB 718 748 BI x e D aper STAGE1 Gre 13 S SMALL STAGE1 et 51A 6 VOCAL ECHO S 7 DIGITAL MULTI EFFECT PROCESSOR mj CH1 8 MUTE AE EMX5016CF Owner s Manual SEND Jacks es EFF1 EFF2 These unbalanced phone output jacks output the signal from the EFFE
9. f OFF REC OUT PHONES eh IS oe Effect processor delay 1 US Power AX OUTPUT 500W 49 CLAS 2 WIRING SHALL BE USED D o mp H 0 GE zm H Subwoofer Speakers EMX Installation Exhaust CP A AN f A A Wu H AA A0 pa A LEO za Hafe Ee W Arar Aloo AL OCG xs Zen Dese At least 30cm Vents are located on the front and rear of the EMX unit Position the unit so that the vents are not CAUTION blocked by nearby walls or objects EMX5016CF Owner s Manual a di Troubleshooting E Power doesn t come Q Be sure that you are using the supplied power cord and that it is correctly on connected to the AC IN connector and plugged into a working power out let Power suddenly went O Check whether the vents at the front and rear of the unit are blocked off The EMX unit may overheat if the vents are blocked If the unit overheats the power may automatically go off Wait for the unit to cool down and then turn the power back on Sound suddenly D Check whether the vents at the front and rear of the unit are blocked stopped The EMX unit may overheat if the vents are blocked If the unit overheats it may cut off the output to
10. Suppres Sor To clear the notch filters press and hold the MANUAL ON switch for two seconds or longer The indicator flashes when all notch filters are cleared As long as you do not clear the notch filters the filter settings will be retained even when you turn off the mixer s power ei MAXIMIZE ON switch When this switch is turned on a multi band 3 band compressor is applied to the Stereo L R bus signal enhancing the sound and volume of the overall output Turning on the switch lights up the indicator Turning on the power while holding the GEQ ON switch 9 and MAXIMIZE ON switch restores the initial factory settings for GEQ Effects Feedback Suppressor and MAXIMIZE AU Front amp Rear Panels e LIMITER Indicators The lamp lights up when the amplified signal output at the SPEAKERS jacks hits its maximum value The lamp indicates that the limiter has come on If the lamps are flashing frequently the load on the CAUTION amp is too high and there is risk of damage to your equipment Reduce the setting of the ST master fader or the AUX1 or AUX2 fader 9 until the lamps flash only briefly or not at all Maximum Output Switch This selector lets you set the maximum output from for the 2 channel internal amp to any of three levels Set this to match the size of your room or the input capac ity of your speakers 500W Maximum 500W 500W 4 ohms 200W Maximum 200W 200W 4 ohms 75W Maximum 75W 75
11. This device has ventilation holes at the front and rear to prevent the internal temperature from becoming too high In particular do not place the device on its side or upside down Inadequate ventilation can result in overheating possibly causing damage to the device s or even fire e Do not use the device in the vicinity of a TV radio stereo equipment mobile phone or other electric devices Doing so may result in noise both in the device itself and in the TV or radio next to it e Before connecting the device to other devices turn off the power for all devices Before turning the power on or off for all devices set all volume levels to minimum e Use only speaker cables for connecting speakers to the speaker jacks Use of other types of cables may result in fire Handling caution e When turning on the AC power in your audio system always turn on the device or external power amplifiers LAST to avoid speaker damage When turning the power off the device or external power amplifiers should be turned off FIRST for the same reason Do not insert your fingers or hands in any gaps or openings on the device vents etc Avoid inserting or dropping foreign objects paper plastic metal etc into any gaps or openings on the device vents etc If this happens turn off the power immediately and unplug the power cord from the AC outlet Then have the device inspected by qualified Yamaha service personnel Do not use the spe
12. and the dynamic range adjust the gain so that the PEAK indi cator comes on only at about maximum input level The 60 to 16 scale indicates the MIC input adjust ment level The 34 to 10 scale indicates the LINE input adjustment level 80 High Pass Filter Switch Switches the high pass filter on off To turn the HPF on press this switch in The HPF cuts frequencies below 80 Hz But note that regardless of the switch setting the mixer does not apply this HPF to the line inputs of stereo input channels 9 SIGNAL D Le GG COMP knob Channels 1 to 8 This knob adjusts the level of compression applied to the channel As the knob is turned to the right the mixer automatically raises the compression ratio while adjusting the output gain accordingly The result is a narrower more even dynamic range as louder signals are softened while the overall level is boosted Avoid setting the knob too high however as excess compres sion may lead to howling PEAK Equalizer HIGH MID and LOW This three band equalizer adjusts the channel s high mid and low frequency bands Setting the knob to the y position produces a flat frequency response for the corresponding frequency band Turning the knob to the right boosts the corresponding frequency band while turning to the left attenuates the band On channels 1 to 8 the MID range is controlled by two knobs The upper knob sets the center frequenc
13. begins co gt 0dB flashing slowly and measurement of the frequency characteristics starts WA Reference Setting the GEO with the FRC function FRC Music EFFECT It EFFECT2 Playback R e Measurement Block Diagram of Music Playback Measurement To adjust the playback level of the CD player turn on the channel 15 16 PFL switch adjust the GAIN control so that the LEVEL meter 0 flashes occasion ally set the channel faders to the OdB position and then adjust the ST Master fader To adjust the channel 1 input level turn on the PFL switch and adjust the 26dB switch and GAIN con trol so that the LEVEL meter 0 flashes occasionally Finally set the channel faders to the OdB position the channel 1 EFF2 knob to nominal Ce position and the EFF1 knob on channels 15 16 to nominal 5 The measurement result is updated on the GEQ dis play every five seconds after measurement starts 6 Confirm that the measurement result is consistent and then press the MEASURE CORRECT switch to suspend the measurement The result is retained even after suspension At this time the GEQ display indications flash This step is also handy for altering the location of the speakers and microphone since the noise output is muted during the suspension To resume the measure ment press the MEASURE CORRECT switch again Turn off the channel 1 ON switch and lower the channel fader all the way down Leaving the fader u
14. begins flash ing quickly and measurement of the frequency char acteristics starts 4 Adjust the ST Master fader to adjust the pink noise output level To adjust the channel 1 input level turn on the PFL switch and adjust the 26dB switch and GAIN con trol so that the LEVEL meter 0 flashes occasionally Finally set the channel fader to the OdB position EMX5016CF Owner s Manual Block Diagram of Noise Measurement 5 The measurement result is updated on the GEQ dis play every five seconds after measurement starts 6 Confirm that the measurement result is consistent and then press the MEASURE CORRECT switch to suspend the measurement The result is retained even after suspension At this time the GEQ display indications flash This step is also handy for altering the location of the speakers and microphone since the noise output is muted during the suspension To resume the measure ment press the MEASURE CORRECT switch again Turn off the channel 1 ON switch and lower the channel fader all the way down Leaving the fader up and stopping the measurement in the step below can result in howling 8 Press the MEASURE CORRECT switch for two seconds or longer to apply the correction curve to the GEQ according to the frequency characteristics of the measurement result The MEASURE CORRECT switch indicator flashes Also the GEQ ON switch lights up so that the GEQ is enabled To prevent clipping at the power amp sta
15. effector of your choice OOS EE page 18 Individual compressors are provided on channels 1 to 8 These let you compress the dynamic range of input signals such as vocals guitars and bass allowing you to bring down high signal peaks and boost lower level sounds This feature helps reduce dis tortion and allows overall volume to be set higher resulting in a stronger and more punchy sound Moreover a 3 band compressor is available for applying to the stereo bus signal output which enhances the overall output volume MAXIMIZE function internal Power AMD RE page 25 The internal amp makes it possible to connect the SPEAKERS jacks directly to non powered speakers with no need for an external amplifier in between The rear panel offers two types of speaker connectors phone jacks and Neutrik Speakon jacks Graphic Equalizer and Etgen ENEE EEGEN page 30 This 9 band graphic equalizer adjusts the frequency characteristics of the Stereo bus signal output A convenient FRC function Frequency Response Correction System allows you to measure the frequency characteristics of the sound field and automati cally adjust the graphic equalizer settings according to the measurement results to compensate for any sound field anomalies Feedback SUppreSSOl cccsssccssseccenseeeesecenneecenseeenseecenseeeaseseaneeceasenenseaeaneess page 25 This function automatically checks for and removes feedback Before Turning On the Mixer E Connectin
16. mute does not work on chan nels 9 10 to 15 16 When using the mixer for live performances you can fill in gaps in the performance by turning on the STANDBY switch and feeding background music from a CD player or other such device into channels 9 10 to 15 16 CAUTION WA Reference Front amp Rear Panels 9 PFL Pre Fader Listen Switch Set this switch on if you want to monitor the pre fade of the signal that is being output at the ST OUT or ST SUB OUT jacks If the switch is on the signal prior to adjustment by the ST master fader and ST SUB con trol is fed to the PFL bus so that it can be monitored at the PHONES jack e The signal level into the PFL bus is not affected by the settings of the ST master fader and ST SUB OUT Control The PFL and AFL switches select the mix to be monitored at the PHONES jack If the channel s PFL or AFL switch is ON the chan nel s output is mixed into the monitor signal to the PHONES jack AFL After Fader Listen Switches Set this relevant switch on if you want to monitor the post fade of the signal that is being output at the ST OUT or the SEND AUX1 or SEND AUX2 jack If the switch is on the signal following adjustment by the ST master fader or AUX1 or AUX2 fader is fed to the AFL bus so that it can be monitored at the PHONES jack e The signal levels into the AFL bus are not affected by the settings of the ST master fader or the AUX1 2 fader settings T
17. so that you will be able to take full advantage of your mixer s superlative features and enjoy trouble free operation for years to come After reading the manual please store it in a safe place Eeer 6 Before Turning On rt 6 E Mixer Basics QUICK GUIO EN 7 Getting Sound to the Speakers eege eeneg ehieegek 7 Adding SOME Reverb ii 10 Using the Compressors to Enhance Vocals cccccccssesseeeeeeeeeeeeeeeaeeseeeeeeeeeeeseeaeeaceeeeeeeeeessesaaaseness 11 Making the Most of Your Mixer ccescceeeseeeseeeeseeeeseeeeseeesseeesseonseeoeseneaes 12 A Place for Everything and Everything in its Place cccccccseeeeeensseeeeeeeseeeesaeeeeeeseaeeeesaaeeeessaeeeeeeas 12 A Plethora of Connectors What Goes Where 12 Balanced Unbalanced What s the Difterencei ee ee cceccseceecceeceeeceeeeeeeeeeeeeeeeeeeeeeeeeeaeeaeesaeeneeeass 13 How Do Balanced Lines Reject Noise aegegdet eeg ege 13 A balanced cable has three conductors nnnnnsnannnenssennnennsenrnnnnsrnrnrnennsnnrrnnnsnnrrrrnsnnrnrrnsnnnrnennnn nne 14 Signal Levels and the DECIDE ecczacicczentincacaecieicen sine wchuniintduasinsseutudedeinddiccelsttiesekesaictadecieadawiaidasincddddnctda teliamecuddelcnen 14 Making Better e 15 Approaching the Mix Where Do You Giant 15 TOEO O NO D EO EE 16 AEE E EE 17 The Modulation Effects Phasing Chorus and Flanging sssssssssssesnsernnrrrrrenresrrrrnrrrreerenen 17 COMPrES SION AI 18 E Reference
18. that the AC outlet you are using Is easily accessible If some trouble or malfunction occurs immediately turn off the power switch and disconnect the plug from the outlet Even when the power switch is turned off electricity is still flowing to the product at the minimum level When you are not using the device for a long time make sure to unplug the power cord from the wall AC outlet If this device is to be mounted in an ElA standard rack leave the back of the rack open and make sure that it is at least 10 cm away from walls or surfaces Also if this device is to be mounted with devices that tend to generate heat such as power amplifiers be sure to keep an adequate gap between this device and the heat generating devices or install ventilation panels to prevent high temperatures from developing inside this device Inadequate ventilation can result in overheating possibly causing damage to the device s or even fire Avoid setting all equalizer controls and faders to their maximum Depending on the condition of the connected devices doing so may cause feedback and may damage the speakers Do not expose the device to excessive dust or vibrations or extreme cold or heat such as in direct sunlight near a heater or in a car during the day to prevent the possibility of panel disfiguration or damage to the internal components Do not place the device in an unstable position where it might accidentally fall over e Do not block the vents
19. that you turn all output controls channel faders ST Master fader AUX1 2 faders etc to minimum settings before operating the switch to avoid risk of loud noises that could cause hearing loss or device damage LEVEL Meters If the ST AFL PFL switch is set to ST these meters show the L and R levels of the signal output from the ST OUT jacks If the ST AFL PFL switch is set to AFL PFL the meters show the levels output from the PHONES jack Note that the signal output to the ST OUT jacks is also passed through the internal amplifier and then output at the SPEAKERS jacks 9 Keep an eye on the LIMITER lamps 9 to ensure that the level at the SPEAKERS jacks does not stay too high ST AFL PFL Switch If the switch is set to AFL PFL si the LEVEL meters show the level of the output at the PHONES jack prior to adjustment by the PHONES control If the switch is set to ST HL the meters show the level output at the ST OUT jacks following adjustment by the ST master fader The PFL 9 and AFL switches select the mix to be monitored at the PHONES jack PHONES Control Controls the level of the signal output to the PHONES jack ST SUB OUT Control Adjusts the signal level to the ST SUB OUT jacks Has no effect on the output from the ST OUT and SPEAKERS jacks STANDBY Switch This switch mutes the input to channels 1 to 8 The switch lights up to indicate that the mute has been turned on Note that the
20. the acoustics of a small space room Simulation of a metal plate reverb unit producing a more hard edged e VOCAL ECHO Belay 50 00 748 0 ms Echo designed for conventional voes Echo designed for karaoke sing along applications e DELAY Belay 20 070 745 0 mo Feedback delay adding mul delayed signals aleng gr _010 38 7 Re Greates a thicker sound by modulating the delay nes An effect which isolates only the early reflection components from EARLY REF Room size 0 1 to 10 0 reverberation creating a flashier effect than conventional reverb An effect which abruptly cuts the tail end of the reverberation making GATE REVERB Room Size 0 1 to 10 0 a more powerful sound EFFECT 2 CS ee ee a a S HALL 2 0 3t010 0s Reverb simulating a large space such as a concert hall ROOM 2 0 3 to 3 2 s Reverb simulating the acoustics of a small space room Simulation of a metal plate reverb unit producing a more hard edged e VOCAL ECHO Delay 30 070 743 0 ms Echo designed for conventiona vaa Echo designed for karaoke sing along applications aisen Delay 20 070 749 0 ms Feedback delay adding multiple delayed signals e GHORUS FO Freq 010 38 7 He Creates a ticker sound by modulating the delay tines Multiplies the sound for thicker texture Creates the effect of two voices or two instruments singing or playing kadai ils EEN the same phrase AUTO WAH LFO Freq 0 to 8 41 Hz A wah wah effect in which the the freq
21. 311 U S A Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park Calif 90620 U S A Tel 714 522 9011 CENTRAL amp SOUTH AMERICA MEXICO Yamaha de M xico S A de C V Calz Javier Rojo Gomez 1149 Col Guadalupe del Moral C P 09300 M xico D F M xico Tel 55 5804 0600 BRAZIL Yamaha Musical do Brasil Ltda Av Reboucas 2636 Pinheiros CEP 05402 400 Sao Paulo SP Brasil Tel 011 3085 1377 ARGENTINA Yamaha Music Latin America S A Sucursal de Argentina Viamonte 1145 Piso2 B 1053 Buenos Aires Argentina Tel 1 4371 7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES CARIBBEAN COUNTRIES Yamaha Music Latin America S A Torre Banco General Piso 7 Urbanizaci n Marbella Calle 47 y Aquilino de la Guardia Ciudad de Panama Panama Tel 507 269 5311 EUROPE THE UNITED KINGDOM Yamaha Kemble Music U K Ltd Sherbourne Drive Tilbrook Milton Keynes MK7 8BL England Tel 01908 366700 GERMANY Yamaha Music Central Europe GmbH Siemensstrabe 22 34 25462 Rellingen Germany Tel 04101 3030 SWITZERLAND LIECHTENSTEIN Yamaha Music Central Europe GmbH Branch Switzerland Seefeldstrasse 94 8008 Ziirich Switzerland Tel 01 383 3990 AUSTRIA Yamaha Music Central Europe GmbH Branch Austria Schleiergasse 20 A 1100 Wien Austria Tel 01 60203900 CZECH REPUBLIC SLOVAKIA HUNGARY SLOVENIA Yamaha Music Central Europe GmbH Branch Austria CEE Department Schleiergasse 20 A 1100 Wien A
22. CT1 2 buses You use these jacks for example to connect to an external effector You can then return the signal by connecting the external effec tor to any of the LINE jacks on channel pairs 9 10 to 15 16 If you are returning a signal from an external effector into a LINE jack on any channel pair 9 10 to 15 16 CAUTION please be sure to turn the EFF1 2 knob for that chan nel pair to 0 e AUX1 AUX2 These unbalanced phone jacks output monaural monitor signals from the AUX1 and AUX2 buses respectively You use these jacks for example to connect to an effec tor or to a cue box or other such monitoring system PROGRAM Dials These let you select the type of effect from 16 different types for EFFECT 1 and EFFECT 2 For details on each of the effect types refer to page 37 PARAMETER Knobs Each knob adjust the parameter depth speed etc associated with the selected effect type The mixer saves the last value used with each effect type When you change to a different effect type the mixer automatically restores the value that was previ ously used with that type regardless of the current position of the PARAMETER knob AUX1 2 Knobs Each knob adjusts the level of the effected sound into the corresponding AUX1 and AUX2 buses e EFF1 2 ON Switches Indicators Switches use of the internal effect on or off The inter nal effect is applied only if this switch is turned on To set the switch on press it i
23. EH ARK Hy Gei e EMX5016CF Owner s Manual Mixer Basics Quick Guide 26dB switches GAIN controls POWER AMP switch Ni C PHANTOM switch e E IN wie ING E ELE Hie ON switches PEAK indicators Channel faders ST Master fader POWER switch 2 Turn the Channel faders and the ST Master fader all the way down 3 Set the POWER AMP switch to its upper position to POWERAMP O LIMITER OO L R 500W L A R A For information about this switch see page 25 on farsa nono m 75W AUX1 AUX2 4 If you have connected input devices to channels 1 to 8 set the 26dB switch ON mu or OFF E on each channel accordingly If you have connected a line level device such as a keyboard or audio device set the channel s switch to the ON m If you have connected a microphone or other mic level device set the switch to the OFF Wi 5 If you are using one or more condenser micro phones for your inputs set the PHANTOM switch to O PHANTOM the ON position el rn A bg CAUTION e Be sure t
24. T switch for two seconds or longer and music playback measurement by pressing and holding for three seconds or longer To measure the frequency characteristics by noise out put generated from the EMX press and hold the MEA SURE CORRECT switch for two to three seconds The indicator flashes quickly and the measurement starts The measurement result is updated on the GEQ display every five seconds after measurement starts To measure the frequency characteristics by music playback such as from connected CD players press and hold the MEASURE CORRECT switch for three seconds or longer The indicator flashes slowly and the measurement starts The measurement result is updated on the GEQ display every five seconds after measurement starts e CORRECT mode If you press and hold the MEASURE CORRECT switch for two seconds or longer after measurement the correction curve corresponding to the frequency characteristics of the measurement result is applied to the GEQ and the indicator lights up The correction curve will be retained until the next measurement If you wish to recall the correction curve after turning off the GEQ ON switch or power switch press the MEA SURE CORRECT switch again 9 VOCAL DANCE SPEECH Switches Pressing either of these switches recalls the preset GEQ settings The GEQ display indicates the set tings and the switch indicator lights up If you change the GEQ settings after recall the switch indicator turn
25. T2 e BZ e BO ROOM2 O Brune ON S 4 Wa z Ai 4 LARGE STAGE a TEI SMALL STAGE1 ae i a SMALL STAGE TE et Feno E et D GE Echo 16 E 7 KAR PROGRAM B BELAY berg H GE CHORUS 9 zielt PARAMETER Sr REF PARAMETER Hdruasgn GATE REVERB L 11 FLANGER eae 12 CAAO 5 ab A TO WAH DIGITAL MULTI EFFECT PROCESSOR CH1 8 MUTE PFL e PFL a pa O are O la NDI 9 PHANTOM Switch and Indicator This switch toggles phantom power on and off The indicator lights up when the setting is on If you set the switch on the mixer supplies power to the XLR mic input jacks on all channels the INPUT A jacks on channels 1 to 8 and the MIC jacks on channel pairs 9 10 to 15 16 Set this switch on when using one or more condenser microphones EMX5016CF Owner s Manual When the switch is on the mixer supplies DC 48V power to pins 2 and 3 of all XLR input jacks Be sure to leave this switch off if you do not need phantom power e When using phantom power do not connect any devices other than condenser microphones to the XLR input jacks Other devices may be damaged if connected to phantom power This precaution does not apply to balanced dynamic microphones however as these will not be affected by phantom power To avoid damage to speakers be sure to turn off the power to the EMX itself and to any other power amplifiers and power speakers before switching phantom power on or off We also rec ommend
26. W 4 ohms POWER AMP Switch Selects the output that gets sent to the SPEAKERS jacks as follows L R SPEAKERS jacks Al and A2 output the signal from the Stereo L bus while jacks B1 and B2 output the sig nal from the Stereo R bus The overall volume is adjusted by the ST master fader AUX1 MONO SPEAKERS jacks Al and A2 output the signal from the AUX 1 bus the volume for this signal can be adjusted using the AUX1 fader SPEAKERS jacks B1 and B2 output the mix of the signals on the Stereo L and R buses the volume can be adjusted with the ST master fader AUX1 AUX2 SPEAKERS jacks Al and A2 output the signal from the AUX 1 bus while jacks B1 and B2 output the sig nal from the AUX2 bus Volumes can be adjusted using the AUXI and AUX2 faders respectively YS Processing Switch This switch turns Yamaha Speaker Processing on or off The processor adjusts the speaker s bass ranges so as to compensate for example for a lack of subwoof ers Note however that the resulting frequency balance may vary according to the speakers you are using EMX5016CF Owner s Manual oc d Front amp Rear Panels 4 POWER ON OFF SEN EFF 1 4dBu L FOOT SW LAMP 12V Uu EFF 1 ON OFF ga O16cF MIXER 42 mmm mmm wm a ee 2 63 125 250 500 1k 4k 8k BL l ck BER al ee emm See ARI MANUAL FEEDBACK SUPPRESSOR EFFECT 1 EFFEC
27. Yamaha service personnel N CAUTION e Do not expose the device to rain use it near water or in damp or wet conditions or place containers on it containing liquids which might spill into any openings e Never insert or remove an electric plug with wet hands If you notice any abnormality e f the power cord or plug becomes frayed or damaged or if there is a Sudden loss of sound during use of the device or if any unusual smells or smoke should appear to be caused by it immediately turn off the power switch disconnect the electric plug from the outlet and have the device inspected by qualified Yamaha service personnel e H this device should be dropped or damaged immediately turn off the power Switch disconnect the electric plug from the outlet and have the device inspected by qualified Yamaha service personnel Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others or damage to the device or other property These precautions include but are not limited to the following Power supply Power cord e Remove the electric plug from the outlet when the device is not to be used for extended periods of time or during electrical storms e When removing the electric plug from the device or an outlet always hold the plug itself and not the cord Pulling by the cord can damage it e Before moving the device remove all connected cables e When setting up the device make sure
28. akers or headphones for a long period of time at a high or uncomfortable volume level since this can cause permanent hearing loss If you experience any hearing loss or ringing in the ears consult a physician Do not rest your weight on the device or place heavy objects on it and avoid use excessive force on the buttons switches or connectors EMX5016CF Owner s Manual XLR type connectors are wired as follows IEC60268 standard pin 1 ground pin 2 hot and pin 3 cold Use only Neutrik plugs NL4 for connecting Speakon connectors Insert TRS phone jacks are wired as follows sleeve ground tip send and ring return Yamaha cannot be held responsible for damage caused by improper use or modifications to the device Always turn the power off when the device is not in use The performance of components with moving contacts such as switches volume controls and connectors deteriorates over time Consult qualified Yamaha service personnel about replacing defective components IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING THIS APPARATUS MUST BE EARTHED IMPORTANT The wires in this mains lead are coloured in accordance with the following code GREEN AND YELLOW BLUE EARTH NEUTRAL BROWN LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the termi nals in your plug proceed as follows The wire w
29. applied to guitar tracks to add extra sustain Too much compression can be a cause of feedback however so use it sparingly Music First Then Mix In any case the music comes first Think about the music and let it guide the mix rather than trying to do things the other way around What is the music saying and what instrument or technique is being used to drive the message That s where the focus of your mix should be You re using a high tech tool to do the mixing but the mix itself is as much art as the music Approach it that way and your mixes will become a vital part of the music EMX5016CF Owner s Manual Reference AYA Front amp Rear Panels Controls on Each Channel INPUT A and INPUT B Jacks Channels 1 to 8 You can connect an input source to either jack Be sure Channels Channels to set the 26 dB switch to match the type of device 1 to 8 9 10 to 15 16 you are connecting Monaural Stereo INPUT A A balanced XLR type microphone input jack 1 Ground 2 Hot 3 Cold If you are connecting a condenser micro phone be sure to turn the PHANTOM switch 9 to its ON position Cold LINE p m SY 10R Ground Hot 4 INPUTB A TRS phone type balanced line input jack T hot R cold S ground Accepts both balanced and unbalanced line input R Cold S Ground T Hot When using phantom power do not connect any devices other than condenser microphones to the CAUTION XLR in
30. ase most engineers will start with the drums and then add the bass The relationship between the drums and bass is extremely important to achieve the drive or groove the music rides on Pay particular attention to how the bass works with the kick bass drum They should almost sound like a single instrument with the kick Supplying the punch and the bass supplying the pitch Once again there are no rules but these are concepts that have been proven to work well EMX5016CF Owner s Manual Mixer Basics Making the Most of Your Mixer To EQ or Not to EQ In general less is better There are many situations in which you ll need to cut certain frequency ranges but use boost sparingly and with caution Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better definition Bad EQ and most commonly bad boost just sounds terrible Cut for a Cleaner Mix For example cymbals have a lot of energy in the mid and low frequency ranges that you don t really perceive as musical sound but which can interfere with the clarity of other instruments in these ranges You can basically turn the low EQ on cymbal channels all the way down without changing the way they sound in the mix You ll hear the difference however in the way the mix sounds more spacious and instruments in the lower ranges will have better definition Surprisingly enough piano also has an incredibly pow
31. before moving into the buses The EFFECT1 2 bus signal is fed both to the internal digital effector and to the SEND EFF1 2 jack B The level into the EFFECT1 2 buses is affected by the setting of the channel s fader 15 dB AU Front amp Rear Panels PAN Control Channels 1 to 8 BAL Con trol Channels 9 10 to 15 16 The PAN control determines the positioning of the channel s signal on the Stereo L and R buses The BAL control sets the balance between left and right channels Signals into the L input odd channel feed to the Stereo L bus signals into the R input even channel feed to the Stereo R bus If you are inputting to a stereo channel through the L MONO jack only the BAL knob operates as a PAN knob ON Switch Switches the channel on or off The indicator lights up if the channel is on Be sure to turn on all the channels that you wish to use If you switch the channel off you cut off all of its signal feed into the Stereo AUX and EFFECT buses Neu To reduce noise turn off all unused channels PEAK Indicator Detects the peak level of the post equalizer signal and lights up red when the level reaches 3 dB below the clipping level SIGNAL Indicator Lights up when a signal is being input into the channel PFL Pre Fader Listen Switch Set this switch on to feed the channel s pre fader signal into the PFL bus so that it can be monitored at the PHONES jack
32. cific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 8 1 53 460 2313 MIDDLE EAST TURKEY CYPRUS Yamaha Music Central Europe GmbH Siemensstrabe 22 34 25462 Rellingen Germany Tel 04101 3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21 128 Jebel Ali Freezone P O Box 17328 Dubai U A E Tel 971 4 881 5868 ASIA THE PEOPLE S REPUBLIC OF CHINA Yamaha Music amp Electronics China Co Ltd 25 F United Plaza 1468 Nanjing Road West Jingan Shanghai China Tel 021 6247 2211 INDONESIA PT Yamaha Music Indonesia Distributor PT Nusantik Gedung Yamaha Music Center Jalan Jend Gatot Subroto Kav 4 Jakarta 12930 Indonesia Tel 21 520 2577 KOREA Yamaha Music Korea Ltd Tong Yang Securities Bldg 16F 23 8 Yoido dong Youngdungpo ku Seoul Korea Tel 02 3770 0660 MALAYSIA Yamaha Music Malaysia Sdn Bhd Lot 8 Jalan Perbandaran 47301 Kelana Jaya Petaling Jaya Selangor Malaysia Tel 3 78030900 SINGAPORE Yamaha Music Asia Pte Ltd 03 11 A Z Building 140 Paya Lebor Road Singapore 409015 Tel 747 4374 TAIWAN Yamaha KHS Music Co Ltd 3F 6 Sec 2 Nan Jing E Rd Taipei Taiwan 104 R O C Tel 02 2511 8688 THAILAND Siam Music Yamaha Co Ltd 891 1 Siam Motors Building 15 16 floor Rama 1 road Wangmai Pathumwan Bangkok 10330 Thailand Tel 02 215 2626 OTHER ASIAN COUNTRIES Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Ja
33. cts distributed by Yamaha Corporation of America or its subsidiaries class B Presents a general explanation of mixers and mixer concepts Includes a Quick Guide that will help beginners get up to speed very quickly Reference starts on page 19 Provides detailed information about the EMX Introduces the EMX features identifies and explains the controls indicators and connec tors and explains how to set up the equipment Within this manual the term EMX refers to model EMX5016CF Illustrations herein are for explanatory purposes only and may not match actual appearance during operation Company names and product names herein are trademarks or registered trademarks of their respective companies Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law Please respect all copyrights and consult with a copyright specialist if you are in doubt about permissible use Specifications and descriptions in this owner s manual are for information purposes only Yamaha Corp reserves the right to change or modify products or specifications at any time without prior notice Since specifications equipment or options may not be the same in every locale please check with your Yamaha dealer AA EMX5016CF Owner s Manual Thank you for your purchase of this Yamaha EMX5016CEF powered mixer Please read through this manual carefully before beginning use
34. dB ics 36 dBu 16 dBu 10 dBu 12 3 mV 123 mV 245 mV 34 dB 54 dBu 34 dBu 14 dBu ST CH LINE INPUT 600 Q 1 55 mV 15 5 mV 155 mV Phone jack 5 10 kQ Lines 10 dBu 10 dBu 30 dBu 245 mV 2 45 V 24 5 V ST CH MIC INPUT 9 10 15 16 9 10 15 16 B 10 dBu 10 dBu 30 dBu RCA Pin jack 5 10d 245 mV 2 45 V 24 5 V 600 Q WF Lei 0 TEV KS EA 1 OdBu is referenced to 0 775Vrms 2 Sensitivity is the lowest level that will produce an output of 4dBu 1 23V or the nominal output level when the unit is set to maximum level All faders and level controls are at maximum position 3 XLR 3 31 type connectors are balanced 4 Phone jacks are balanced T HOT R COLD S GND 5 Phone jacks and RCA pin jacks are unbalanced CH INSERT IN 1 8 E Output Characteristics g Actual Source For Use With Output level Output Terminals ST OUT L R 600 Q Lines 4 dBu 1 23V 20 dBu 7 75 V Phone jack 2 ST SUB OUT L R 600 Q Lines 4 dBu 1 23V 20 dBu 7 75 V Phone jack 2 AUX SEND 1 2 600 Q Lines 4 dBu 1 23V 20 dBu 7 75 V Phone jack 2 SPEAKON 1 QOdBu is referenced to 0 775Vrms OdBV is referenced to 1Vrms 2 Phone jacks are unbalanced EMX5016CF Owner s Manual WA Reference Specifications E Digital Effect Program List EFFECT 1 e a E EE EE HALL 1 0 3t010 0s Reverb simulating a large space such as a concert hall ROOM 1 0 3 to 3 2 s Reverb simulating
35. e basic decibel unit In the case of dBu O dBu is specified as a signal level of 0 775 volts For example if a microphone s output level is 40 dBu 0 00775 V then to raise that level to O dBu 0 775 V in the mixer s preamp stage requires that the signal be amplified by 100 times A mixer may be required to handle signals at a wide range of levels and it is necessary match input and output levels as closely as possible In most cases the nominal level for a mixer s input and outputs is marked on the panel or listed in the owner s manual 20 dBu Most professional mixers power amplifiers and other types of equipment have inputs and outputs with a nominal level of 4 dBu 0dBu 0 775V The inputs and outputs on home use audio gear usually have a nominal level of 10 dBu 20 dBu 40 dBu Microphone signal levels vary over a wide range depending on the type of microphone and the source Average speech is about 30 dBu but the twittering of a bird might be lower than 50 dBu while a solid bass 60 dBu drum beat might produce a level as high as 0 dBu 00 EMX5016CF Owner s Manual Mixer Basics Making the Most of Your Mixer Making Better Mixes Approaching the Mix Where Do You Start Mixing is easy right Just move the faders around until it sounds right Well you can do it that way but a more systematic approach that is suited to the material you re mixing will produce much be
36. e ambient are no more than a meter or two in length then unbalanced lines are runs electromagnetic fine unless youre surrounded by extremely high levels of noise level will be electromagnetic noise Another place balanced lines are almost the ultimate always used is in microphone cables The reason for this is that the deciding factor but output signal from most microphones is very small so even a tiny EES amount of noise will be relatively large and will be amplified to an alarming degree in the mixer s high gain head amplifier How Do Balanced Lines Reject Noise Skip this section if technical details make you queasy Balanced lines work on the principle of phase cancellation if you add two identical signals out of phase i e one signal is inverted so its peaks coincide with the troughs in the other signal the result is nothing A flat line The signals cancel each other out While the desired audio signals in the hot and cold conductors are out of phase any noise induced in the line will be exactly the same in both conductors and thus in phase The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become in phase and the induced noise suddenly finds itself out of phase The out of phase noise signal is effectively canceled while the audio signal is left intact Clever eh To summarize Short line level Unbalanced lines runs are fine if you
37. eep your manuals in a safe place don t you A phone jack that is set up to handle balanced signals is also often referred to as a TRS phone jack TRS stands for Tip Ring Sleeve which describes the configuration of the phone plug used The Sturdy XLR This type of connector is generally referred to as XLR type and almost always carries a balanced signal If the corresponding circuitry is designed properly however XLR type connectors will also handle tie unbalanced signals with no problem Microphone cables usually have this type of connector as do the inputs and outputs of most professional audio gear Female EMX5016CF Owner s Manual SA Mixer Basics Making the Most of Your Mixer Balanced Unbalanced What s the Difference In a word noise The whole point of balanced lines is noise rejection and it s something they re very good at Any length of wire will act as an antenna to pick up the random electromagnetic Microphones Use balanced lines radiation we re constantly surrounded by radio and TV signals as well as spurious electromagnetic noise generated by power lines motors electric appliances computer monitors and a variety of other sources The longer the wire the more noise it is likely to pick up That s why balanced lines are the best choice for long cable runs If your studio is basically confined to your desktop and all connections Long line level Th
38. el PARAMETER du uge EMX5016CF Owner s Manual Mixer Basics Quick Guide V Using the Compressors to Enhance Vocals The compressor evens out the input level reducing the level of loud passages and bringing up softer passages The result is a cleaner sound where nuances remain audible and the lyrics are easier to hear LI Dy LI Of LI Of COMP knobs GEE GOOG S eessen E D GC DU o Adjust the COMP knobs on the relevant channels Turn the knob clockwise to increase the compression Avoid setting the value too high as too much compres sion may result in howling For more information about the compressors see page 18 EMX5016CF Owner s Manual Mixer Basics Making Most of Your Mixer An Introduction You ve got yourself a mixer and now you re ready to use it Just plug everything in twiddle the controls and away you go right Well if you ve done this before you won t have any problems but if this is the first time you ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes A Place for Everything and Everything in its Place A Plethora of Co
39. emoved from the EMX unit CAUTION 3 Mount the unit into the rack and fasten it into place Do not install the mixer near power amps or other heat generating devices CAUTION EMX5016CF Owner s Manual co AZ Setup Top panel p BEE gt 00000000 AI 6 INPUT B PUT B PUT B 00e INSERT NSERT NSERT 200000000 A A INPUTA INPUTB INPUTE NSERT INSERT INSERT INSERT S ei Noua In most cases it is sufficient to connect speakers to the SPEAKERS jacks on the unit s rear panel If you want even more output however you can ee IMIM 7 ol UNBAL RA cove es Microphones NN r II babbone pbb bo bo op bp Effect processor exciter Rear Panel ORE SPEAKERS 1 wel BEES ui YA E 2 land 2 8 16Q SPEAKER 1or2 4 89 SPEAKE pu IS oe OO 0O el el S Drums ASA 6 Teo GO OCS S Ei el TA Oy TUHUSIA O AGOO OOC69 6 9 get it by connecting a power amp to the ST OUT ST SUB OUT or AUX 1 2 jacks and then con necting speakers to the power amp Recorder Foot Switch YAMAHA FC5 4 PO ER
40. erful low end that can benefit from a bit of low frequency roll off to let other instruments notably drums and bass do their jobs more effectively Naturally you won t want to do this if the piano is playing solo The fundamental and harmonic frequency ranges of some musical instruments Fe Piano ee Bass Drum P Snare Drum fF Bass po Guitar P Trombone fp Trumpet eee 20 50 100 200 500 1k2k 5k 10k 20k Hz Cymbal E Fundamental The frequency that determines the basic musical pitch Harmonics Multiples of the fundamental frequency that play a role in determining the timbre of the instrument The reverse applies to kick drums and bass guitars you can often roll off the high end to create more space in the mix without compromising the character of the instruments You ll have to use your ears though because each instrument is different and sometimes you ll want the snap of a bass guitar for example to come through Some Frequency Facts The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20 000 Hz respectively Average conversation occurs in the range from about 300 Hz to about 3 000 Hz The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz this corresponds to the A3 key on a piano tuned to concert pitch Double this frequency to 880 Hz and you have a pitch one octave higher i e
41. fader You would typically connect these jacks to a power amp or powered speakers PHONES Jack Connector for headphones This is a balanced stereo phone type output jack en LAMP Jack This XLR 3 pin type output jack is for connection to an optional lamp Supported lamps 12 V AC or DC max 5 W Power of 12 V is supplied between pins 2 and 3 Pin 1 is not connected e GEA Graphic Equalizer display Indicates the GEQ settings This 9 band GEQ adjusts the frequency characteristics of the stereo bus signal output at the ST OUT jacks ST SUB OUT jacks and SPEAKERS jacks 9 e GEO Switches These switches boost or cut the gain of each frequency band by 12 dB The central frequencies for the bands are 63 125 250 500 1k 2k 4k 8k and 16k Hz The adjustable gain values are OdB 1 5dB 3dB 4 5dB 6dB 9dB and 12dB For intermediate val ues not printed on the scale both the upper and lower indicators light For example the 0 and 3 indicators light to indicate a value of 1 5dB ee GEQ ON Switch This switch toggles the graphic equalizer on or off The switch is illuminated when on EMX5016CF Owner s Manual oc d Front amp Rear Panels 4 POWER ON OFF S YAMAH ON DIGITAL GRAPHIC EGUALIZER 63 125 250 500 1k 2k 4k 8k 16k z mm AA AA AA AA AA H ER RR H EN RR RR RR EN ka ka wm mmm 63 125 250 500 1k 2 4k 8k 16k k CH
42. g to Power I Be sure that the POWER switch is in the OFF position 2 Connect the included power cord to the AC IN connector on the rear panel 3 Plug the power cord into a standard power outlet E Turning the Unit On and Off NOTE e To prevent an unpleasant burst of noise from the speakers you should power up the sound sources first and then the other devices in order of their distance from the source starting with the closest For example Sound source external device gt EMX unit gt Amps Powered speakers When turning power off proceed in the opposite order e Before turning power on make sure that the channel faders ST master fader AUX1 2 faders ST SUB OUT control are all the way down Push the POWER switch in to turn the power ON The model name EMX5016CF is shown in the GEQ display To turn the power off push the POWER switch again so that the indication goes off 6 A EMX5016CF Owner s Manual Mixer Basics V Getting Sound to the Speakers We begin by connecting up two speakers and generating some stereo output Note that opera tions and procedures will vary somewhat according to the input devices you are using Input jacks ei el el ofe al ele E oS pO el GOOD Ki ae ISDS D Ki L ZE E
43. g to far can undermine the clarity and quality of your mix Use your ambience effects just enough to create the required feeling of depth but no more than is necessary to keep your sound clean Reverb and Delay Time A variety of reverb and delay effect programs are provided and nearly all of then have a reverb delay time parameter than can be adjusted via the panel PARAMETER control Small adjustments to the reverb delay time can actually have a significant effect on the sound The optimum reverb time for a piece of music will depend on the music s demo and density but as a general rule longer reverb times are good for ballads while shorter reverb times are more suited to up tempo tunes Delay times can be adjusted to create a wide variety of grooves and you need to select the time that best suits the music When adding delay to a vocal for example try setting the delay time to dotted eighth notes corresponding to the tune s tempo Reverb Tone Different reverb programs will have different reverb tone due to differences in the reverb time of the high or low frequencies or differences in the overall frequency response of the reverb sound Always be careful not apply too much reverb particularly in the high frequencies In addition to resulting in unnatural sound excessive high frequency reverb can interfere with the high frequencies in other parts of the mix If you can hear more reverb than direct sound in the up
44. ge by exces sive equalization the correction curve is never set over 6dB If necessary adjust the GEQ settings using the GEQ switches If you adjust the GEQ settings the FRC indicator turns off To restore the correction curve immedi ately after measurement press the FRC MEA SURE CORRECT switch again The indicator lights up If necessary store the GEQ settings to a USER switch Setting up GEQ by Music Playback Measurement This explains how to output music playback such as from a CD player via channels 15 16 pick up that signal picked from a microphone plugged into channel 1 and measure the frequency characteristics Connect the EMX to a set of speakers Connect a microphone to channel 1 INPUT A or INPUT B and place the microphone at the point to be measured Connect a CD player to channels 15 16 Set up channels 1 and 15 16 as follows and lower the ST Master fader all the way down Channel 1 Geste Sgng 0 gt Nominal w position Channels 15 16 Gegpcie Sgng Off 0dB 0dB 0dB co gt 0dB asih OOO O HIGH ee aow f o y O axo S AUX2 knob eee Emeko oo Channel fader Adjust these settings in step 4 e Make sure that all faders other than channels and 15 16 are set to their minimum and that no other signals are input e Set the POWER AMP switch to L R Press and hold the MEASURE CORRECT switch for three seconds or longer The indicator
45. he PFL and AFL switches select the mix to be monitored at the PHONES jack If the channel s PFL or AFL switch is ON the chan nel s output is mixed into the monitor signal to the PHONES jack 9 AUX1 and AUX2 Faders The AUX1 fader adjusts the level of the output from the SPEAKERS A jacks or the SEND AUXI jack GC The AUX2 fader adjusts the level of the output from the SPEAKERS B jacks or the SEND AUX2 jack ST Master Fader Adjusts the level to the SPEAKERS jacks or ST OUT jacks e Does not affect the level of the output from the ST SUB OUT jacks e The signal to the SPEAKERS jacks is determined by the setting of the POWER AMP switch EMX5016CF Owner s Manual gt Reference d Front amp Rear Panels Rear Panel SPEAKERS EEN KS ioi JA SPEAKERS jacks Use these jacks to connect to speakers Note that the output directed to these jacks varies according to the setting of the POWER AMP switch A1 B1 NEUTRIK NL4 Speakon outputs Polarities are as shown below A2 B2 Phone output jacks POWER Switch This switch turns the EMX power ON and OFF Before turning the power ON or OFF be sure to turn both the ST master fader and the AUX1 and AUX2 CAUTION faders are all the way down EMX5016CF Owner s Manual Ga AC IN Connector Connect the included power cable here Connect one end of t
46. he cord to this connector and then plug the other end into a standard power outlet Before turning the power ON or OFF be sure to turn both the ST master fader and the AUX1 and AUX2 CAUTION faders are all the way down Ground Screw For maximum safety be sure to securely connect the EMX to an earth connection The supplied power cable has a three prong plug that will ground the unit when the plug is inserted into an appropriately grounded three prong type AC mains outlet If the AC outlet is not grounded be sure to ground the unit by using this ground screw Correct grounding will effectively elim inate hum noise and interference Reference AZA Speaker Connections When making 2 channel and 2 channel parallel connections to the SPEAKERS jacks be sure that the impedance of your speakers meets the conditions indicated below Note that actual speaker impedance varies according to the connection method and the number of speakers e When making connections be sure that your cables have the appropriate ratings and the correct plugs Soon Be sure to use dedicated speaker cables when connecting speakers to the SPEAKERS jacks 2 channel connection When connecting by 2 channel connection use speakers with impedance of 4 ohms to 8 ohms 40 8Q 4Q 89 Jand 2 8 16Q SPEAKER 1or2 4 80 SPEAKER CLASS 2 WIRING SHALL BE USj D 2 channel parallel connection When connecting speakers in parallel as shown below use spea
47. hich is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN and YELLOW The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED e This applies only to products distributed by Yamaha Kemble Music U K Ltd 3 wires FCC INFORMATION U S A IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions con tained in this manual meets FCC requirements Modifications not expressly approved by Yamaha may void your authority granted by the FCC to use the product IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorization to use this product in the USA NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digi tal devices Compliance with these requirements provides a rea sonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other elec
48. i napo Dwana napo P SS ngpo Inapo N i La o O dH en H on YA I r Inap9t o ngpog Ino 934 6 08 Gel A 100 w Ingpri4 o ngpoe l I pow ee QU SLPL EL ZL LL OL GHO D e Ke Gase INdNI HO LS rS Leg Hf 4 ry Trois w a Oe Ts es wns mox i dd AA des ID mi e A lt Se isi je sai e pueg ngpo C O ep 039 Dip Pw LU LYASNI i ngpo L o ngpys 7 2225 HD ro P Ir In PZ B DEE ngp9 o ngpo9 va ch mg mei dsa a v Tis D Wr WNS Z S d NIV ger to POL t ngp9 vm AAA ddH e aud y o re napol o ngpre wns t Beis V y f Gna napo Anapo d PEE aoe w ava Sal ngpr S va Ge ngpo lape4 H yD 08 TVN IS em n o Nn ino ans L Ca CZ En apo9 ONOWN ino ans 1s vv mMer MME LENU 34 AC d IIg TIRI 8 LH9 d ya 4 AG GNVLS ae REEERE KEE 34 1 Ta 25 905222 QONE ji INdNI HO AA B2669 522285 A8r gt olo Dese ER as 445 m em ar S5222 SS WOLNVHd 7760693 mfal geen SS 22mm oo z zgjon SE mm CN w EMX5016CF Owner s Manual For details of products please contact your nearest Yamaha representative or the authorized distributor listed below Pour plus de d tails sur les produits veuillez vous adresser Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante NORTH AMERICA CANADA Yamaha Canada Music Ltd 135 Milner Avenue Scarborough Ontario MIS 3R1 Canada Tel 416 298 1
49. igh pass filters for the relevant channels to be heard more are turned ON as appropriate clearly Q Be sure that the YS Processing switch is turned off Q Adjusting the equalizers HIGH MID and LOW knobs on each channel Q Adjusting the graphic equalizers I want to output a mon Q Connect a powered speaker to the AUX1 2 jacks Then adjust the itor signal through AUX1 2 signal by adjusting the channel AUX1 2 controls and the AUX1 speakers and AUX2 faders Q If you want to send the monitor signal to SPEAKERS A jack set the POWER AMP switch to the AUX1 MONO position Note that in this case the A jack will output the monitor signal and the B jack will output a mix of the stereo L and R signals want to initialize the Q Turning on the power while holding the GEQ ON switch and MAXIMIZE GEQ and digital effect ON switch restores the initial factory settings for GEQ Effects Feedback settings Suppressor and MAXIMIZE EMX5016CF Owner s Manual Co AZA Specifications E General Specifications All level controls are nominal when measured Output impedance of signal generator 150Q Conditions 1 MN TYP MAX Unit RL 4Q Both channels drive 1 kHz 500 Maximum Output Power THD N lt 0 5 350 Ww SPEAKERS RL 8Q Rated power supplies US AU 120V 230V and 240V 320 EU Total Harmonic Distortion ST ST SUB AUX EFFECT 14dBu output into 600Q E ee ae ee of THD N 20Hz 20kHz REC OdBV output i
50. ion Compression can also be used within a mix to make a voice or instrument seem to come forward or simply to even out level differences o Compression can be used to make a mix seem Pa 4 10 max bigger and louder by producing a more saturated Es sound Professional compressors have numerous Z parameters that need to be carefully adjusted A attack release threshold level and sometimes a more A professional sound engineer might need to spend a considerable amount of time based on a considerable amount of experience to set each of these parameters to achieve the desired sound OUTPUT The EMX compressor makes achieving great INPUT sound much easier All you need to do is set a single compression control and all of the pertinent parameters are automatically adjusted for you The engineers who designed this fine compressor paid careful attention to achieving the best sound quality possible so that you can quickly achieve pro quality compression without having to worry about a confusing multitude of settings A common example of the use of compression is to tame a vocal that has a wide dynamic range in order to tighten up the mix With the right amount of compression you ll be able to clearly hear whispered passages while passionate shouts are still well balanced in the mix Compression can also be valuable on bass guitar producing a smooth bass sound that stays solid through the tune Compression can also be
51. kers with impedance of 8 ohms to 16 ohms 8Q 16Q 8Q 16Q 8Q 16Q 8Q 16Q and 2 8 162 SPEAKER MAX OUTPUT 500W 42 1or2 4 80 SPEAKER CLASS 2 WIRING SHALL BE Ug EMX5016CF Owner s Manual a di Setting the GEQ with the FRC function FRC Frequency Response Correction System can measure the frequency characteristics of the sound field and apply the correction curve to the GEQ according to the measurement result noise measurement or music playback measurement Setting up the GEQ by Pink Noise Measurement This explains how to output pink noise a kind of measurement noise from the speakers pick up that noise from a microphone plugged into channel 1 and measure the frequency characteristics There are two measurement methods available pink Noise Generator STEREO L FRC Noise R _ Measurement STOUT L of the room Connect the EMX to a set of speakers Connect a microphone to channel 1 INPUT A or INPUT B and place the microphone at the point to be measured Set up channel 1 as follows and lower the ST Master fader all the way down Comos 1 soms mooo o Eemo J SSS S ON switch SSC Channel fader Adjust these settings in step 4 On co IN e Make sure that all faders other than channel 1 are set to their minimum and that no other signals are input e Set the POWER AMP switch to L R Press and hold the MEASURE CORRECT switch for two to three seconds The indicator
52. n so that it lights up As an alternative to the ON switch you can use a sepa rately sold FCS foot switch to toggle the effector on and off The On Off status of the internal effects will be retained even when you turn off the mixer s power ee PFL Pre Fader Listen Switches Set this switch on to feed the signal from the internal digital effect signal pre the EFF1 2 RTN faders into the PFL bus so that it can be monitored at the PHONES jack e The signal will not feed into the PFL bus if the effect s ON switch is turned off e The PFL O and AFL switches select the mix to be monitored at the PHONES jack If the channel s PFL or AFL switch is ON the chan nel s output is mixed into the monitor signal to the PHONES jack If both switches are OFF the chan nel output is not fed to the PHONES jack EFF1 2 RTN Faders Adjusts the level of the effected sound into the Stereo bus WA Reference Front amp Rear Panels Master Section a a En A DIGITAL GRAPHIC EQUALIZER 112 wm ee ee ee ee wm wm mm mmm N ll ll CLEAR CLEAR AUTO MANUAL MAXIMIZE FEEDBACK SUPPRESSOR eo PHANTOM SF orr EFFECT 1 EFFECT2 ua ua 3 ai 8 AC Boot ai 8 fe room AYS R oo 2 IA Gel R fh Bir art a dk 4 LARGE STAGE 1 i d hal KILARGE STAGE Ek VE 5 SMALL STAGE1 e VE 5 SMALL STAGE2 St D Zete 6 VOCAL ECHO O D Zeta 6 VOCAL ECHO B 9 9
53. nnectors What Goes Where Questions you re likely to encounter when setting up a system for the first time might include Why all these different types of connectors on the back of my mixer and What s the difference Let s start by taking a look at the most common connector types The Venerable RCA Pin Jack This is the consumer connector and the one that has been most commonly used on home audio gear for many years Also known as phono jacks short for ophonogram but the term isn t used much these days besides it s too easily confusable with phone jacks below RCA pin jacks are always unbalanced and generally carry a line level signal at 10 dB nominal You re most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer or when connecting the output of your mixer to a cassette recorder or similar gear Sleeve r Ring The Versatile Phone Jack Rm e The name phone jack arose simply because this configuration was first used in telephone switchboards Phone jacks can be tricky because you Stereo TRS phone plug can t always tell what type of signal they re designed to handle just by looking at them It could be unbalanced mono unbalanced stereo m balanced mono or an insert patch point The connectors label will usually tell you what type of signal it handles as will the owner s manual Mono phone plug you do k
54. nto 10kQ a ee E ST ST SUB AUX EFFECT 20Hz 20kHz 1kHz output leve 3 0 0 0 10 Frequency Response GAIN at minimum level PAD Off SPEAKERS o T ae Residual Output Noise ST ST SUB AUX SR 8 dBu Crosstalk 1kHz Adjacent inputs LL 28 input to output RE MIC to SPEAKERS o MIC to ST OUT REECH MIC to ST SUB OUT aT MIC to AUX SEND PRE ee of MIC to EFFECT SEND a MIC to REC OUT e2 CH 910 1516 LINE to STOUT 58 Phantom Voltage CHT TSH6XLR Noload J voo Channel Equalizer 10kHz Shelving Maximum Variation 15dB MID MONO 250Hz 5kHz Peaking Turn over roll off frequency of MID ST 2 5kHz Peaking 100Hz Shelving On each channel 1 8 One control adjusts the Gain Threshold and Ratio Compressor COMP CH1 8 simultaneously On each channel Indicator lights if post EQ signal comes within 3dB of the PEAK Indicator clipping level SIGNAL Indicator On each channel Indicator lights if post EQ signal reaches 10dB STANDBY Switch CH1 8 mute ewe mmm Two 12 points LED level meter PEAK 5 3 1 0 1 3 5 7 10 Level Meter ST PFL AFL 15 20 dB PEAK lights if the signal comes within 3 dB of the clipping level 9 band 63 125 250 500 1k 2k Ak 8k 16kKHz 12 dB maximum varia Digital Graphic Equalizer ST OUT tion Preset x 3 User preset x 3 Frequency Response Correction FRC System Pink noise Music playback measurement mode Feedback Supp
55. o leave this switch off if you do not need phantom power e When using phantom power do not connect any devices other than condenser microphones to the XLR input jacks Other devices may be damaged if connected to phantom power This precaution does not apply to balanced dynamic microphones however as these will not be affected by phantom power To protect your speakers and ears Before turning the PHANTOM switch ON or OFF be sure to turn off the power to the mixer and to all other devices having internal amplifiers We also recommend that you turn all output controls Channel faders ST Master fader etc to mini mum settings before operating the switch to avoid risk of loud noises that could cause hearing loss or device damage ECH Cu 01 ect Owner s Manual Mixer Basics Ouick Guide 6 Turn on the power POWER First turn on the power to all connected devices other than powered speakers and amp and then turn on the EMX itself If using powered speakers or amps turn these on last NOTE To prevent an unpleasant burst of noise from the speakers you should power up the sound sources first and then the other devices in order of their dis tance from the source starting with the closest For example Sound source external device gt EMX unit Amps Pow ered speakers Z Adjust the GAIN control for each channel you are using so that the PEAK indicator comes on only at about maximum input level NOTE To u
56. p and stopping the measurement in the step below can result in howling 8 Press the MEASURE CORRECT switch for two seconds or longer to apply the correction curve to the GEQ according to the frequency characteristics of the measurement result The MEASURE CORRECT switch indicator flashes Also the GEQ ON switch lights up so that the GEQ is enabled To prevent clipping at the power amp stage by exces sive equalization the correction curve is never set over 6dB If necessary and adjust the GEQ settings using the GEQ switches If you adjust the GEQ settings the FRC indicator turns off To restore the correction curve immediately after measurement press the FRC MEASURE CORRECT switch again The indicator lights up If necessary store the GEQ settings to a USER switch EMX5016CF Owner s Manual Reference AZA Rack Mounting To prepare the unit for rack mounting use the separately sold RK5014 rack mount kit If rack mounting the unit be sure to maintain adequate ventilation so the unit does not overheat Consider attaching a vent panel and do not use a sealed rack CAUTION News The EMX unit requires 12U of rack space How to install the rack mount hardware RK5014 Rack Mount Kit Use a screwdriver to remove the screws from the EMX unit Set the kit s two metal fittings into position and screw them in using the screws silver included in the RK5014 Do not use the screws black you just r
57. pan 430 8650 Tel 81 53 460 2317 OCEANIA AUSTRALIA Yamaha Music Australia Pty Ltd Level 1 99 Queensbridge Street Southbank Victoria 3006 Australia Tel 3 9693 5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 8 1 53 460 2313 HEAD OFFICE Yamaha Corporation Pro Audio amp Digital Musical Instrument Division Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 8 1 53 460 2441
58. per frequency range try selecting a different effect program It s always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix Reverb Level Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washed out mix sounds perfectly fine To avoid falling into this trap start with reverb level all the way down then gradually bring the reverb into the mix until you can just hear the difference Any more than this normally becomes a special effect You don t want reverb to dominate the mix unless you are trying to create the effect of a band in a cave which is a perfectly legitimate creative goal if that s the sort of thing you re aiming for The Modulation Effects Phasing Chorus and Flanging All of these effects work on basically the same principle a portion of the audio signal is time shifted and then mixed back with the direct signal The amount of time shift is controlled or modulated by an LFO Low frequency Oscillator When we say time shift however we re not talking in terms of minutes or even seconds For phasing effects the shift is very small indeed a difference measured in degrees of phase shift rather than time units The phase difference between the modulated and direct signals causes cancellation at some frequencies and reinforces the signal at others a comb fil
59. put jacks Other devices may be damaged if connected to phantom power This precaution does not apply to balanced dynamic microphones how ever as these will not be affected by phantom power e On any given channel you may use either INPUT A or INPUT B but not both Please connect to only either of these jacks on each channel LINE MIC Jacks Channels 9 10 to 15 16 These jacks accept stereo inputs and mic inputs Use these to connect up stereo output devices such as ste reo synthesizers and CD players and microphones LINE jacks Unbalanced stereo inputs Each channel pair have phone jacks and RCA pin jacks MIC jack XLR balanced mic level input jack If you are connecting a condenser micro phone be sure to turn the PHANTOM switch 9 to its ON position v O I dr 5 a a gt x lt vy E gt Cc x lt N m Lo MTU O J m i E 3 m Lo 1 a v v gt m TT T N v L i a m T T N vy 2 ZS Z lt DO zS 4 e When using phantom power do not connect any devices other than condenser microphones to the CAUTION XLR input jacks Other devices may be damaged if connected to phantom power This precaution does not apply to balanced dynamic microphones how ever as these will not be affected by phantom power O op d x zZ 0 d O E al Z gt m If you wish you may use the channel pair s LINE and MIC jacks togethe
60. r notch filters and the switch indicator To clear the notch filters press and hold the AUTO ON switch for two seconds or longer The indicator flashes when all notch filters are cleared As long as you do not clear the notch filters the filter settings will be retained even when you turn off the mixer s power A notch filter created by AUTO mode will be reduced by 3 dB a minute after the filter has been created e MANUAL mode Press the MANUAL DETECT switch to check for the next feedback point in the signal If howling is found up to one notch filter is created automatically During the check the MANUAL DETECT switch indicator flashes The check is stopped when howling is found or not found for five seconds If notch filters are already created and another howling point is not found the indicator goes off for a second then lights up again MANUAL mode detects howling more sensitively than AUTO mode Use of this mode may mistakenly identify musical notes as howling during a perfor mance however this mode is handy to set up precau tionary notch filters beforehand by intentionally raising the levels and finding the howling points e If a notch filter is created by pressing the MAN UAL DETECT switch the MANUAL ON switch is turned on automatically To turn off Feedback Suppressor press the MANUAL ON switch The switch indicator turns off If no notch filters are created pressing the MAN UAL ON switch cannot turn on Feedback
61. r at the same time But note that the levels cannot be adjusted independently EMX5016CF Owner s Manual oc d Front amp Rear Panels Channels 1 to 8 Monaural 1 INPUTA INPUT B INSERT i EMX5016CF Owner s Manual Channels 9 10 to 15 16 Stereo INSERT I O Jack Channels 1 to 8 Each of these jacks is positioned between the equalizer and fader of the corresponding input channel 1 to 8 You can use these jacks to connect channels to devices such as graphic equalizers compressors and noise fil ters These are TRS tip ring sleeve phone jacks that support bidirectional operation Connection to an INSERT I O jack requires a special separately sold insertion cable such as the Yamaha YICO25 YICOSO or YICO70 as shown below To the input jack of the external processor gt To the INSERT I O jack Tip OUT Oo 3 Sleeve Ground Tip IN Ring IN Tip OUT To the output jack of the external processor 26 dB Switch Channels 1 to 8 Pressing this button turns on the attenuator for each channel attenuating the input signal level by 26 dB If you have connected a line level device such as a keyboard or audio device set the channel s switch to ON ei If you have connected a microphone or other mic level device set the switch to OFF E GAIN Control Adjusts the gain applied to the input signal level To get the best balance between the S N ratio
62. re ina relatively noise free environment Balanced noise cancellation Noise A Hot A Cold TEV inversion Ground Unbalanced noise EMX5016CF Owner s Manual Mixer Basics Making the Most of Your Mixer A balanced cable has three conductors 1 A ground conductor which carries no signal just the ground or 0 reference against which the signal in the other conductors fluctuates 2 A hot or conductor which carries the normal phase audio signal 3 A cold or conductor which carries the reverse phase audio signal Balanced Unbalanced Hot Cold Shield Ground Outer Insulation Signal Levels and the Decibel Let s take a look at one of the most commonly used units in audio the decibel dB If the smallest sound that can be heard by the human ear is given an arbitrary value of 1 then the loudest sound that can be heard is approximately 1 000 000 one million times louder That s too many digits to deal with for practical calculations and so the more appropriate decibel dB unit was created for sound related measurements In this system the difference between the softest and loudest sounds that can be heard is 120 dB This is a non linear scale and a difference of 3 dB actually results in a doubling or halving of the loudness You might encounter a number of different varieties of the dB dBu dBV dBM and others but the dBu is th
63. record the serial number of this unit in the space below Model Serial No The serial number is located on the bottom or rear of the unit Retain this Owner s Manual in a safe place for future reference EMX5016CF Owner s Manual 98 6500 PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING Please keep this manual in a safe place for future reference A WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock short circuiting damages fire or other hazards These precautions include but are not limited to the following Power supply Power cord e Only use the voltage specified as correct for the device The required voltage is printed on the name plate of the device e Use only the included power cord e Do not place the power cord near heat sources such as heaters or radiators and do not excessively bend or otherwise damage the cord place heavy objects on it or place it in a position where anyone could walk on trip over or roll anything over it e Be sure to connect to an appropriate outlet with a protective grounding connection Improper grounding can result in electrical shock e Do not open the device or attempt to disassemble the internal parts or modify them in any way The device contains no user serviceable parts If it should appear to be malfunctioning discontinue use immediately and have it inspected by qualified
64. ressor FBS AUTO MANUAL mode shelving is 3dB below maxi mum level MAXIMIZE 3 band compressor on off eo Nee w each PARAMETER control each XLR 3 31 type 12 V DC between pins 2 and 3 5 W max 500W 500W 200W 200W 75W 75W UR AUXT MONO AUX1 AUX2 Yamaha Speaker Processing SPEAKERS Speaker EQ on off POWER switch on off mute DC fault power supply shutdown manual reset Thermal heatsink temp 2 90 C output mute auto reset VI limiter RL lt 20 Clip limiter THD 2 1 compression Indicator x 2 Power Amplifier Protection Thermal heatsink temp 2 100 C power supply shutdown manual reset Dual variable speed fan Power Consumption EI Dimensions mm o NeWeight SSS EMX5016CF Owner s Manual Reference d Specifications E Input Characteristics Actual Load For Use wih ai si Input Terminals Connector Impedance Nominal Sensitivity 2 Nominal Max before clip 0 078 mV 0 775 mV 7 75 mV 12 3 mV 123 mV 1 23 V CH INPUT A 1 8 90 600 XLR 3 31 type 3 34 dB Mics 54 dBu 34 dBu 14 dBu 26 dB 1 55 mV 15 5 mV 155 mV 10 dB 10 dBu 10 dBu 30 dBu 245 mV 2 45 V 24 5 V 0 078 mV 0 775 mV 7 75 V CH INPUT B 1 8 10kQ 600 Q eam oom ee Phone jack 4 ee Lines 54 EN 34 dBu 14 dBu 26 dB tea 15 5 mV 155 mV 10 dB 60 dB 80 dBu 60 dBu 40 dBu 50 600 Q 0 078 mV 0 775 mV 7 75 mV Mi XLR 3 31 type 3 46
65. roduce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus No oh GO MM WARNING 11 12 13 14 Only use attachments accessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is B used use caution when moving the cart apparatus combination to avoid injury from tip over Es E Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE IMPORTANT Please
66. s off To restore the preset settings press the switch again amp USER 1 USER 2 USER 3 Switches These switches are used to store the GEQ settings in each memory area and recall them e Storing Press and hold the USER switch for two seconds or longer until the switch indicator flashes e Recalling the stored settings Press the USER switch to be recalled The settings are recalled and indicated on the GEQ display and the switch indicator lights up Pressing the GEQ switches to adjust the settings after recall turns off the indicator To restore the settings press the USER switch again After recalling the GEQ settings by pressing either of the MEASURE CORRECT VOCAL DANCE SPEECH or USER switches pressing the switch again restores the GEQ settings before recall This is handy for comparing two GEQ settings ei Feedback Suppressor This function monitors the stereo bus signal for howl ing and creates notch filters filters which cut specific frequencies to eliminate the howling There are two methods AUTO mode monitors the signal periodi cally and MANUAL mode searches for each feedback point individually You can use both methods in tan dem or either method alone e AUTO mode Pressing the AUTO ON switch turns on the indicator and monitors for howling periodically If howling is found the corresponding notch filter is created auto matically Pressing the AUTO ON switch again turns off Feedback Suppresso
67. se the LEVEL meter to get an accurate reading of the incoming signal level Set the ST AFL PFL switch to AFL PFL el and turn on the PFL switch for each channel you are using Adjust the GAIN controls so that GE LEVEL meter indication occasionally rises above the e 0 level Note that m C the PHONES jack outputs the pre faded signal from all channels whose PFL switch is ON so that you can monitor these signals through the headphones Turn the ON switch on Set the ST Master fader to the 0 position O Adjust the channel faders on all occupied channels Adjust the faders while listening to the output from the speakers NOTE A s A C ume 10 YSA e To use the LEVEL meter to view the level being input to the internal amp Set the ST AFL PFL switch to ST Ri e Use the LIMITER lamps to check for clipping of the signal from the SPEAK d PER ERS jacks Note that the LIMITER lamps will come on earlier than the level R meter s PEAK indicators come on 1 if l l Adjust the overall volume of the ST Master fader AN CAUTION E It is acceptable for the LIMITER lamps to flash on briefly at times but if Vv ate they remain lit continuously then there is risk of damage to your speakers SCH or to the internal amp Reduce the ST master fader setting so that these lamps do not stay on EMX5016CF Owner s Manual WADI Mixer Basics SJA Quick G
68. ter effect and this causes the shimmering sound we hear Phasing is the subilest of all these effects producing a gentle shimmer that can add life to a wide range of sources without being too obtrusive For chorus and flanging the signal is actually delayed by several milliseconds a millisecond is a thousandth of a second with the delay time modulated by an LFO and recombined with the direct signal In addition to the comb filter effect described above the delay modulation in these effects causes a perceived pitch shift which when mixed with the direct signal results in a harmonically rich swirling or swishing sound The difference between chorus and flanging effects is primarily in the amount of delay time and feedback used flanging uses longer delay times than chorus whereas chorus generally uses a more complex delay structure Chorus is most often used to thicken the sound of an instrument while flanging is usually used as an outright special effect to produce other worldly sonic swoops EMX5016CF Owner s Manual Mixer Basics ZZ Making the Most of Your Mixer Compression Have you ever wondered why professionally produced recordings sound so different from your own There are numerous reasons of course but one important factor is the judicious use of compression One form of compression known as limiting can when properly used produce a smooth unified sound with no excessive peaks or distort
69. the internal amp until things cool down Q Are microphones external devices and speakers connected correctly Q Are the GAIN controls channel faders ST master fader and AUX1 2 fad ers set to appropriate levels Q Check that the speaker cables are not shorted U If the above checks do not identify the problem call Yamaha for service Refer to the end of this manual for a list of Yamaha dealers Sound is faint dis D Are the GAIN controls channel faders ST master fader and AUX1 2 fad torted or noisy ers set to appropriate levels U Check that the 26 dB switches on channels 1 to 8 are set correctly U On channels 1 to 8 be sure that you have not connected to both INPUT A and INPUT B On each of these channels you may use one input or the other but not both U Is the input signal from the connected device set to an appropriate level UY You may be applying excessive digital effect Check your effect settings No effect is applied D Check that the EFF1 2 knob on each channel is correctly adjusted Q Be sure that the internal effectors ON switch is turned on Q Check that the EFF1 2 RTN fader is correctly adjusted The sound from the Q Try turning on the YS Processing switch speakers seems dull Q Try turning on the MAXIMIZE ON switch want a more forceful H Adjust the equalizers HIGH MID and LOW knobs on each channel sound Q Adjust the graphic equalizers want spoken words D Check that the 80 switches h
70. tronic devices This equipment generates uses radio fre quencies and if not installed and used according to the instruc tions found in the users manual may cause interference harmful to the operation of other electronic devices Compliance with FCC This applies only to products distributed by YAMAHA CORPORATION OF AMERICA About this Manual This manual is divided into two main sections as follows Mixer Basics starts on page 7 regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interfer ence which can be determined by turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilize power outlets that are on different branch circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective measures do not produce satisfactory results please contact the local retailer authorized to distribute this type of product If you can not locate the appropriate retailer please con tact Yamaha Corporation of America Electronic Service Division 6600 Orangethorpe Ave Buena Park CA90620 The above statements apply ONLY to those produ
71. tter results and faster There are no rules and you ll probably end up developing a system that works best for you But the key is to develop a system rather than working haphazardly Here are a few ideas to get you started Faders Down It might sound overly simple but it is usually a good idea to start with all channel faders off all the way down It s also possible to start with all faders at their nominal settings but it s too easy to lose perspective with this approach Start with all faders down then bring them up one by one to fill out the mix But which channel should you start with Example Vocal Ballad Backed by Piano Trio What are you mixing Is it a song in which the vocals are the most important element If so you might want to build the mix around the vocals This means bringing the vocal channel up to nominal first if your level setup procedure has been done properly this will be a good starting point and then adding the other instruments What you add next will depend on the type of material you are working with and your approach to it If the vocals are backed by a piano trio and the song is a ballad for example you might want to bring in the piano next and get the vocal piano relationship just right then bring in the bass and drums to support the overall sound Example2 Funky R amp B Groove The approach will be totally different if you re mixing a funky R amp B number that centers on the groove In this c
72. uency is modulated by LFO DISTORTION 0 to 63 Adds a sharp edged distortion to the sound Recreates the lo fi sound of an AM radio The parameter adjusts the ER EE Ee frequency band to be emphasized EMX5016CF Owner s Manual iagrams I D hh imensiona Reference Specifications Di Unit mm 0 LI oT QGQO 1 T 9 60 1 T 0900070093 T 66 een 0 T 00 0 0 600 0 gesieeoer 0 6 50 600 09 66 66 O 6 600 59 T 0000000000 0 T O 0 06 000 2 D 01000000100000 T 00000700000 o T ee 0000000090 2 T 9696 6 0656 O 600 05 T D B co CC e Ki ei 00000000G di oooopppp 444 440 excluding screw heads EMX5016CF Owner s Manual 38 Ou all Been Ou tjm Ou x Specifications Block Diagram and Level Diagram
73. uide V Adding Some Reverb You can use the reverb effect to simulate the sound of a concert hall or jazz club oe ee e el GOS 9 9 PROGRAM dial gdele iesse Ei EFF1 knobs so o CGH so S o GE 00 o EFF1 ON switch EFF1 RTN fader l Turn the EFFECT1 PROGRAM dial to select the desired effect type To select a reverb effect turn the dial to any value from 1 to 5 SI room E vomero o oos aarmen Cae BI uer RI karaoke u GATE REVERB RI Dunn To turn on the effector set the EFF1 ON switch to its ON position The switch lights up when turned on As an alternative to the ON switch you can use a separately sold FC5 foot switch to toggle the effector on and off Set the EFF1 RTN fader to the 0 position ales 4 Use the channel EFF1 knobs to adjust the effect on depth for each channel 5 Use the EFF1 RTN fader to adjust the overall effect depth Note that you can use the PARAMETER knob to adjust the charac teristic sound of the selected effect If you have selected a reverb wa CT effect the knob adjusts the reverb time a MIN MAK
74. ustria Tel 01 602039025 PA13 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgef hrten Niederlassung und bei Yamaha Vertragshandlern in den jeweiligen Bestimmungslandern erh ltlich Para detalles sobre productos contacte su tienda Yamaha m s cercana o el distribuidor autorizado que se lista debajo POLAND Yamaha Music Central Europe GmbH Sp z 0 0 Oddzial w Polsce ul 17 Stycznia 56 PL 02 146 Warszawa Poland Tel 022 868 07 57 THE NETHERLANDS BELGIUM LUXEMBOURG Yamaha Music Central Europe GmbH Branch Benelux Clarissenhof 5 b 4133 AB Vianen The Netherlands Tel 0347 358 040 FRANCE Yamaha Musique France BP 70 77312 Marne la Vall e Cedex 2 France Tel 01 64 61 4000 ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN PORTUGAL Yamaha Hazen Musica S A Ctra de la Coruna km 17 200 28230 Las Rozas Madrid Spain Tel 91 639 8888 SWEDEN Yamaha Scandinavia AB J A Wettergrens Gata 1 Box 30053 S 400 43 Goteborg Sweden Tel 031 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 6A DK 2730 Herlev Denmark Tel 44 92 49 00 NORWAY Norsk filial ay Yamaha Scandinavia AB Grini N ringspark 1 N 1345 ster s Norway Tel 67 16 77 70 OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstrabe 22 34 25462 Rellingen Germany Tel 49 4101 3030 AFRICA Yamaha Corporation Asia Pa
75. v h vd ANI YILAN reese NO ZXNY g A Ju mi ONOW ngpo Lem 1 ZA _ Si el we maa e Ya nnn A H O zaa NO 244 o of noz sa xay t Hoe z ANI CMS e 1 ONISSSOOUd SA Pi j 2 LHOdNV YaLAWVeWd Lem 1 TAI iwa kb Inapor Niue im 7110 2433 ef H wer SA avl zona wwuooud A Yd 43 LIT 1 W eh NO WE MOD swyoy XYWMOOS S Gem ON 194444 SHS ay MOOS HEEN uann dWV 43MOd 1 ENT 443 H o o H 1 az c a aAA anya el fat At g Kas yA l NO 443 1 swuyoor mwe fT of L era SI ol ode J H SSNOHd LU Ly aseyd euion E nns Feo w a v Op i WOH y 4 1 Tai Mii 3 S3NOHd ya d Ig Li tag A doa 103333 aS 4SOINO Z443 AN w SuL va WNS WNS a D i ya i t 1 anas Inapo di Niu 3333 NR tdd to oa ASO NO 14544 YA LLOOJ 4 H l napr of a EE EEE S va wns wns 4 WNS obo t Vdd Inapr ea l gs exny Luz 4 va Ee de Bei wns ii napg z 333 ngpo1 01 ngpre y 7 Y9 L H L HZLHOLHO Lem gh 4 h ngp9 7 443 o 4 4 wns Inapo H a f va de Gei 03 ebeis VH ANI Zu i f i amet H T bas t EH i CETE Y9 Sg INT H9 LS Inapp of 4 aa Me ee napot o ngpre S LXNY AES l YA J al SS ro leped HO 1S NI avide SS D NIVO d Q napor l A IO au TID h ngpo i o ngpye ixny ngpg Bs GERS 7 ISLTIELTLLTI6HO Ans 4 I i y 1 t va o 03 e6eis YH ANI
76. y for the mid range while the lower knob sets the attenua tion counterclockwise or boost clockwise for the range Again setting the lower knob to w produces a flat response On stereo channel pairs 9 10 to 15 16 the mid range frequency is fixed at 2 5kHz so only one MID knob is provided The following table shows the equalization type the base frequency and the maximum cut boost for each of the three bands mma Si 250 Hz to 5 kHz variable Peaking CHs 1 to 8 2 5 kHz CHs 9 10 to 15 16 Shelving 100 Hz AUX1 2 Knobs PRE POST Each knob adjusts the channel s signal level into the AUX1 2 bus The knob should generally be set close to the w position Note that you can use the PRE switch to choose whether the pre fader or post fader signal is fed into the AUX1 2 buses On ste reo channels the L odd and R even input signals are mixed before being sent to the AUX 1 2 buses If the PRE switch is on the channel s fader will not have any effect on the signal sent to the AUX1 2 buses PRE Switch Selects whether the pre fader or the post fader signal is fed to the AUX1 2 buses If the switch is on the mixer feeds the pre fader signal to the buses If off the mixer feeds the post fader signal EFF1 2 Knobs Each knob adjust the level of the signal sent from the channel to the EFFECT 1 2 bus If input is from a ste reo channel pair 9 10 to 15 16 the signals from the L and R channels are mixed

Yamaha EMX5016CF Musical Instrument User Manual

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