POWERED POWERED MIXER MIXER Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones Quick Guide Pages 7 to 11 Making the Most of Your Mixer Pages 12 to 18 EN DE FR ES
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 EMX5016CF 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 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, linelevel 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............................
Mixer Basics Quick Guide Mixer Basics 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. Input jacks SPEAKERS jacks 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 [26dB] switches GAIN controls POWER AMP switch PHANTOM switch ON switches PEAK indicators ST Master fader Channel faders 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 8, set the [26dB] switch ON ( ) or OFF ( ) on each channel accordingly.
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. PROGRAM dial EFF1 knobs EFF1 ON switch EFF1 RTN fader 1 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. 1 2 3 4 2 HALL 1 ROOM 1 PLATE 1 LARGE STAGE 1 5 6 7 8 SMALL STAGE 1 VOCAL ECHO KARAOKE DELAY 9 0 A B To turn on the effector, set the EFF1 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. COMP knobs 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 Reference Front & Rear Panels Controls on Each Channel Channels 1 to 8 (Monaural) Channels 9/10 to 15/16 (Stereo) 1 1 INPUT A and INPUT B Jacks (Channels 1 to 8) 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 c to its ON position.
Reference Front & Rear Panels 3 INSERT I/O Jack (Channels 1 to 8) Channels 1 to 8 (Monaural) 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 filters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation.
Reference Front & Rear Panels 8 Equalizer (HIGH, MID, and LOW) B PAN Control (Channels 1 to 8); BAL Con- This three-band equalizer adjusts the channel’s high, mid, and low frequency bands. Setting the knob to the “ ” 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.
Reference Front & Rear Panels H SEND Jacks Digital Effects Section • EFF1, EFF2 These unbalanced phone output jacks output the signal from the EFFECT1/2 buses. You use these jacks, 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 9/10 to 15/16.
Reference Front & Rear Panels O ST SUB OUT Jacks Master Section O Q T P P REC OUT Jacks R S W U V These unbalanced phone jacks output the mixed stereo signal (L and R), where the level is adjusted by the ST SUB OUT control g. You would typically use these jacks to connect to an external mixer or a supplementary SR system. These RCA pin-type unbalanced output jacks can be used to send the main stereo signal to an external DAT recorder or cassette recorder.
Reference Front & Rear Panels X Y Z [ ^ \ ] b a • MEASURE mode There are two measurement methods: noise measurement, engaged by pressing and holding the MEASURE/CORRECT 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 output generated from the EMX, press and hold the MEASURE/CORRECT switch for two to three seconds. The indicator flashes quickly and the measurement starts.
Reference Front & Rear Panels [ Feedback Suppressor This function monitors the stereo-bus signal for howling and creates notch filters (filters which cut specific frequencies) to eliminate the howling. There are two methods: AUTO mode monitors the signal periodically, and MANUAL mode searches for each feedback point individually. You can use both methods in tandem or either method alone. • AUTO mode Pressing the AUTO ON switch turns on the indicator and monitors for howling periodically.
Reference Front & Rear Panels NOTE When the switch is on, the mixer supplies DC +48V power to pins 2 and 3 of all XLR input jacks. • CAUTION • • Be sure to leave this switch off if you do not need phantom power. 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.
Reference Front & Rear Panels i 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 m p o n m SPEAKERS jacks o 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 a. 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. CAUTION • • 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 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. There are two measurement methods available: pink noise measurement or music playback measurement.
Reference Setting the GEQ with the FRC function Setting up GEQ by Music Playback Measurement Sound Source 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. 1 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.
Reference 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 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 NOTE Synthesizer ASSIGN A PAN/SEND ASSIGN TONE ASSIGN B PAN REVERB CUTOFF RESONANCE SWING GATE TIME ASSIGN 1 CHORUS ASSIGN 2 TEMPO ATTACK RELEASE VELOCITY UNITMULTIPLY 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. ❑ 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. ❑ Check whether the vents at the front and rear of the unit are blocked. The EMX unit may overheat if the vents are blocked.
Reference Specifications ■ General Specifications * All level controls are nominal, when measured.
Reference Specifications ■ Input Characteristics Input Terminals PAD GAIN Actual Load Impedance For Use With Nominal 3 kΩ 50-600 Ω Mics 10 kΩ 600 Ω Lines 3 kΩ 50-600 Ω Mics 10 kΩ 600 Ω Lines 10 kΩ 600 Ω Lines –60 dB 0 dB –16 dB CH INPUT A 1-8 –34 dB 26 dB +10 dB –60 dB 0 dB –16 dB CH INPUT B 1-8 –34 dB 26 dB +10 dB –60 dB ST CH MIC INPUT 9/10-15/16 — ST CH LINE INPUT 9/10-15/16 — CH INSERT IN 1-8 — –16 dB –34 dB +10 dB — Sensitivity *2 –80 dBu (0.078 mV) –36 dBu (12.3 mV) –54 dBu (1.
Reference Specifications ■ Digital Effect Program List ● EFFECT 1 No. 1 2 Program HALL 1 ROOM 1 Parameter Reverb Time Reverb Time Range 0.3 to 10.0 s 0.3 to 3.2 s 3 PLATE 1 Reverb Time 0.3 to 10.0 s 4 5 6 7 8 9 LARGE STAGE 1 SMALL STAGE 1 VOCAL ECHO KARAOKE DELAY CHORUS Reverb Time Reverb Time Delay Delay Delay LFO Freq 0.3 to 10.0 s 0.3 to 10.0 s 30.0 to 743.0 ms 40.0 to 265.0 ms 20.0 to 743.0 ms 0 to 39.7 Hz 10 EARLY REF. Room Size 0.1 to 10.0 11 GATE REVERB Room Size 0.1 to 10.
Reference Specifications Dimensional Diagrams 444 (440 excluding screw heads) 155 8 485 493 6 145 Unit: mm 38 EMX5016CF Owner’s Manual
R BA HPF HA ST CH LINE GAIN Max.
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à 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, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.