POWERED POWERED MIXER MIXER Owner’s Manual Quick Guide Pages 7 to 11 Making the Most of Your Mixer Pages 12 to 18 EN
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.
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. 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 Water warning • Only use the voltage specified as correct for the device.
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.
Thank you for your purchase of this Yamaha EMX5014C powered mixer. Please read through this manual carefully before beginning use, 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. Contents Features ...............................................................................................................................................
Features Input Channels ................................................................................................ page 19 The EMX offers eight monaural mic/line input channels (1 to 9/10) and four stereo input channel pairs (7/8 to 13/14), allowing you to freely mix inputs from microphones, line-level devices, and stereo devices. For example, you can mix six microphones with four stereo devices, or eight microphones with two stereo synthesizers. Phantom Power (+48V) .................................
Mixer Basics Quick Guide Getting Sound to the Speakers We begin by connecting up two speakers and generating some stereo output. Note that operations and procedures will vary somewhat according to the input devices you are using. 1 1 1 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).
Mixer Basics Quick Guide 4 7 8 7 2,10 3 53 25 2 9,11 2 2 3 Turn the Channel faders and the ST Master fader all the way down. Set the POWER AMP switch to its upper position (to L-R). For information about this switch, see page 25. 4 5 If you have connected input devices to channels 1 to 6, set the [26dB] switch ON ( ) or OFF ( ) 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 ( ).
Mixer Basics Quick Guide 6 Turn on the 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 distance from the source (starting with the closest).
Mixer Basics Quick Guide Adding Some Reverb You can use the reverb effect to simulate the sound of a concert hall or jazz club. 1 2 3,5 4 1 Turn the PROGRAM dial to select the desired effect type. To select a reverb effect, turn the dial to any value from 1 to 7. 1 2 3 4 2 REVERB HALL 1 REVERB HALL 2 REVERB ROOM 1 REVERB ROOM 2 5 6 7 8 REVERB STAGE 1 REVERB STAGE 2 REVERB PLATE DRUM AMBIENCE 9 0 A B To turn on the effector, set the EFFECT ON switch to its ON position ( ).
Mixer Basics Quick Guide 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. 1 1 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 compression may result in howling.
Mixer Basics Making the 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.
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 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.
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.
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 better 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.
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.
Mixer Basics Making the Most of Your Mixer Ambience Reverb Level 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).
Mixer Basics 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 distortion.
Reference Front & Rear Panels Controls on Each Channel Channels 1 to 6 (Monaural) Channels 7/8 and 9/10 (Stereo) 1 Channels 11/12 and 13/14 (Stereo) 1 INPUT A and INPUT B jacks (Channels 1 to 6) You can connect an input source to either jack. Be sure to set the [26 dB] switch 4 to match the type of device you are connecting. INPUT A: A balanced XLR-type microphone input jack (1:Ground; 2:Hot; 3:Cold). If you are connecting a condenser microphone, be sure to turn the PHANTOM switch \ to its ON position.
Reference Front & Rear Panels 3 INSERT I/O Jack (Channels 1 to 6) Channels 1 to 6 (Monaural) Channels 7/8 and 9/10 (Stereo) Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (1 to 6). You can use these jacks to connect channels to devices such as graphic equalizers, compressors, and noise filters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation.
Reference Front & Rear Panels 8 FCL (Feedback Channel Locating) lamp (Channels 1 to 9/10) This lamp is used during setup to identify any channel that might be howling. Check these lamps when setting up for a performance. If the lamp lights up, adjust the channel’s equalizer 9 or channel fader H to reduce the level so that the lamp goes off. NOTE Input of a continuous sound (as from a CD player or vocal) may cause the lamp to come on even in the absence of howling.
Reference Front & Rear Panels Digital Effects Section I SEND Jack • EFF This unbalanced phone output jack outputs the signal from the EFFECT bus. You use this jack, for example, to connect to an external effector. You can then return the signal by connecting the external effector to any of the LINE jacks on channel pairs 7/8 to 13/14.
Reference Front & Rear Panels M EFFECT ON Switch/Indicator Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on. To set the switch on, press it in so that it lights up. As an alternative to the ON switch, you can use a separately sold FC5 foot switch to toggle the effector on and off. NOTE The internal effector is automatically turned on whenever you switch on the mixer’s power.
Reference Front & Rear Panels P REC OUT Jacks Master Section P Q R S T 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 stereo signal pre adjustment by the ST master fader g and graphic equalizer V. As the signal is not adjusted by these controls, please be sure to make appropriate level adjustments at the external recording device side.
Reference Front & Rear Panels Y 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 capacity of your speakers. 500W: Maximum 500W + 500W/4 ohms. 200W: Maximum 200W + 200W/4 ohms. 75W: Maximum 75W + 75W/4 ohms Z POWER AMP Switch Selects the output that gets sent to the SPEAKERS jacks, as follows.
Reference Front & Rear Panels d 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 control) is fed to the PFL bus so that it can be monitored at the PHONES jack. NOTE • The signal level into the PFL bus is not affected by the settings of the ST master fader and ST SUB OUT Control.
Reference Front & Rear Panels Rear Panel h k j i h SPEAKERS jacks j AC IN Connector 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 Y. Connect the included power cable here. Connect one end of the cord to this connector, and then plug the other end into a standard power outlet. A1, B1: NEUTRIK NL4 Speakon outputs. Polarities are as shown below.
Reference 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. • • When making connections, be sure that your cables have the appropriate ratings and the correct plugs. Be sure to use dedicated speaker cables when connecting speakers to the SPEAKERS jacks.
Reference Rack Mounting 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. NOTE The EMX unit requires 12U of rack space. How to install the rack-mount hardware RK5014 Rack Mount Kit 1 Use a screwdriver to remove the screws from the EMX unit.
Reference Setup Top panel Synthesizer ASSIGN A ASSIGN B ASSIGN 1 PAN REVERB ASSIGN CUTOFF RESONANCE ATTACK RELEASE SWING GATE TIME VELOCITY UNITMULTIPLY TONE CHORUS NOTE ASSIGN 2 PAN/SEND TEMPO REMOTE ON/OFF ARPEGGIO R-AUDIO G-MIDI Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface ON/OFF MUSIC PRODUCTION SYNTHESIZER PRE 1 KNOB CONTROL FUNCTION KN 1 LOW KN 2 LOW MID KN 3 HIGH MID KN 4 HIGH VOLUME 1 VOLUME 2 VOLUME 3 VOLUME
Reference Troubleshooting ■ Power doesn’t come on. ■ Power suddenly went off. ■ Sound suddenly stopped. ❑ Be sure that you are using the supplied power cord, and that it is correctly connected to the AC IN connector and plugged into a working power outlet. ❑ Check whether the vents at the front and rear of the unit are blocked. 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.
Reference Specifications ■ General Specifications MIN Maximum Output Power (SPEAKERS) Total Harmonic Distortion (THD+N) 20 Hz-20 kHz Frequency Response EIN=Equivalent Input Noise Residual Output Noise Crosstalk @ 1kHz Maximum Voltage Gain @1kHz Phantom Voltage (RL=4 ohms) Both ch drive, 1kHz, THD+N < = 0.
Reference Specifications ■ Input Characteristics Input Terminals PAD CH INPUT A 1-6 GAIN Actual Load Impedance Input Level For Use with Nominal Sensitivity *2 Nominal Max. before Clip –60 dB –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –16 dB –36 dBu (12.3 mV) –16 dBu (123 mV) +4 dBu (1.23 V) –34 dB –54 dBu (1.55 mV) –34 dBu (15.5 mV) –14 dBu (155 mV) +10 dB –10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) –60 dB –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.
Reference Specifications Dimensional Diagrams 444 (440 excluding screw heads) 155 145 493 485 8 6 Unit: mm EMX5014C Owner’s Manual 34
BA 3-Stage EQ 3-Stage EQ SIGNAL PEAK SIGNAL PEAK ON ON DIGITAL EFFECT (DSP) RO LO BA INSERT I/O[0dBu] IN BA ST CH Fader [-10dBu] BA ST CH Fader BA BA [-6dBu] BAL AUX2 PFL AUX2 AUX1 BA BA [-6dBu] [-6dBu] [-6dBu] CH & ST CH to ST [0dBu](PAN,BAL hard left/right) [-6dBu] [-6dBu] [-6dBu] [-6dBu] [0dBu] EFFECT RTN [-10dBu] PFL EFFECT PRE AUX1(PRE) PFL EFFECT AUX2 [-6dBu] AUX1(PRE) PRE [0dBu] PAN/BAL PFL [-6dBu] [-6dBu] [0dBu] EFFECT PAN ST L(MUTE) ST R(MUT
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