Yamaha EMX 5016CF Manual de usuario

Categoría
Mezcladores de audio
Tipo
Manual de usuario

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Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
ES
FR
DE
EN
Making the Most of Your Mixer
Pages 12 to 18
Quick Guide
Pages 7 to 11
POWERED MIXER
POWERED MIXER
2
EMX5016CF Owner’s Manual
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
1 Read these instructions.
2 Keep these instructions.
3 Heed all warnings.
4 Follow all instructions.
5 Do not use this apparatus near water.
6 Clean only with dry cloth.
7 Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8 Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce 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.
11 Only use attachments/accessories specified by the
manufacturer.
12 Use only with the cart, stand,
tripod, bracket, or table specified
by the manufacturer, or sold with
the apparatus. When a cart is
used, use caution when moving
the cart/apparatus combination
to avoid injury from tip-over.
13 Unplug this apparatus during
lightning storms or when unused for long periods of
time.
14 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.
(98-6500)
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.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
IMPORTANT
Please 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
3
(5)-4
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:
Only use the voltage specified as correct for the device. The required voltage is
printed on the name plate of the device.
Use only the included power cord.
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.
Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
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 Yamaha service personnel.
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.
Never insert or remove an electric plug with wet hands.
If 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.
If 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.
CAUTION
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:
Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
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.
Before moving the device, remove all connected cables.
When setting up the device, make sure 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 EIA-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.
Do not block the vents. 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.
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.
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.
Use only speaker cables for connecting speakers to the speaker jacks. Use of
other types of cables may result in fire.
Do not use speaker cables with a metal-housing connector. Doing so may result
in electrical shock due to differences in voltage. Use speaker cables with a non-
metal-housing connector, or with a insulated-housing connector.
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 speakers 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.
Power supply/Power cord
Do not open
Water warning
If you notice any abnormality
Power supply/Power cord
Location
Connections
Handling caution
4
EMX5016CF Owners Manual
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.
About this Manual
This manual is divided into two main sections, as follows.
Mixer Basics (starts on page 7)
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, identies 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.
Specications and descriptions in this owners manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any
time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
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.
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.
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 : EARTH
BLUE : 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 which 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.
This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions con-
tained in this manual, meets FCC requirements. Modications not
expressly approved by Yamaha may void your authority, granted by
the FCC, to use the product.
2. 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.
3. 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 electronic 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. (class B)
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 lter/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 products distributed by
Yamaha Corporation of America or its subsidiaries.
FCC INFORMATION (U.S.A.)
EMX5016CF Owners Manual
5
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.
Features...............................................................................................................................................6
Before Turning On the Mixer................................................................................................................ 6
Mixer Basics
Quick Guide ......................................................................................................7
Getting Sound to the Speakers............................................................................................................7
Adding Some Reverb.........................................................................................................................10
Using the Compressors to Enhance Vocals ......................................................................................11
Making the Most of Your Mixer ....................................................................12
A Place for Everything and Everything in its Place ............................................................................12
A Plethora of ConnectorsWhat Goes Where?........................................................................ 12
Balanced, UnbalancedWhats the Difference?...............................................................................13
How Do Balanced Lines Reject Noise? .............................................................................................13
A balanced cable has three conductors:............................................................................................14
Signal Levels and the Decibel............................................................................................................ 14
Making Better Mixes...........................................................................................................................15
Approaching the MixWhere Do You Start?.............................................................................15
To EQ or Not to EQ.................................................................................................................... 16
Ambience ...................................................................................................................................17
The Modulation Effects: Phasing, Chorus, and Flanging...........................................................17
Compression..............................................................................................................................18
Reference
Front & Rear Panels.......................................................................................19
Controls on Each Channel .................................................................................................................19
Digital Effects Section ........................................................................................................................22
Master Section ...................................................................................................................................23
Rear Panel .........................................................................................................................................28
Speaker Connections ....................................................................................29
2-channel connection.................................................................................................................29
2-channel parallel connection ....................................................................................................29
Setting the GEQ with the FRC function .......................................................30
Rack Mounting ...............................................................................................32
Setup ...............................................................................................................33
Troubleshooting.............................................................................................34
Specifications.................................................................................................35
Contents
6
EMX5016CF Owner’s Manual
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, 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............................................................................ 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 effector
of your choice.
Compressors................................................................................................... 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 Amp ........................................................................................ 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 FRC............................................................................ 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 Suppressor..................................................................................... page 25
This function automatically checks for and removes feedback.
Before Turning On the Mixer
Connecting to Power
1
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.
Turning the Unit On and Off
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).
For example:
Sound source (external device)
EMX unit
Amps (Powered speakers)
When turning power off, proceed in the opposite order.
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.
Rapidly turning the unit ON and OFF in succession can cause it to malfunction. After turning the unit OFF, wait for about 10 seconds before turning it
ON again.
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.
EMX5016CF Owners Manual
7
Mixer Basics
Quick Guide
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.
1
Connect up the speakers and your input devices
(microphones, instruments, etc.).
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.
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.
Getting Sound to the Speakers
Input jacks
SPEAKERS jacks
WRONG!!
RIGHT
CAUTION
Before connecting input devices to the EMX, be sure that all of these
devices (including microphones) are powered off. And before turning
the power to any device on or off, be sure to turn the volume of that
device all the way down.
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.
Mixer Basics
8
EMX5016CF Owners Manual
Quick Guide
Mixer Basics
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
L-R).
For information about this switch, see page 25.
4
If you have connected input devices to channels 1
to 8, 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 channels switch to the ON ( ). If you have
connected a microphone or other mic-level device, set the switch to
the OFF ( ).
5
If you are using one or more condenser micro-
phones for your inputs, set the PHANTOM switch to
the ON position ( ).
[26dB] switches
POWER switch
GAIN controls
ON switches
PEAK indicators
Channel faders
POWER AMP switch
PHANTOM switch
ST Master fader
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.
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 ampliers. 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.
Quick Guide
Mixer Basics
EMX5016CF Owners Manual
9
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 rst, and then the other devices in order of their dis-
tance from the source (starting with the closest).
For example: Sound source (external device)
EMX unit
Amps (Pow-
ered speakers)
7
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 use the LEVEL meter to get an accurate reading of the incoming signal
level: Set the ST/AFL-PFL switch to AFL-PFL( ) and turn on the PFL
switch for each channel you are using. Adjust the GAIN controls so that
LEVEL meter indication occasionally rises above the
“” (0) level. Note that
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.
8
Turn the ON switch on.
9
Set the ST Master fader to the 0 position.
10
Adjust the channel faders on all occupied channels.
Adjust the faders while listening to the output from the speakers.
NOTE
To use the LEVEL meter to view the level being input to the internal amp:
Set the ST/AFL-PFL switch to ST( ).
Use the LIMITER lamps to check for clipping of the signal from the SPEAK-
ERS jacks. Note that the LIMITER lamps will come on earlier than the level
meter's PEAK indicators come on.
11 Adjust the overall volume of the ST Master fader.
CAUTION
It is acceptable for the LIMITER lamps to ash on briey at times, but if
they remain lit continuously then there is risk of damage to your speakers
or to the internal amp. Reduce the ST master fader setting so that these
lamps do not stay on.
10
EMX5016CF Owners Manual
Quick Guide
Mixer Basics
You can use the reverb effect to simulate the sound of a concert hall or jazz club.
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.
2 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.
3 Set the EFF1 RTN fader to the 0 position.
4 Use the channel EFF1 knobs to adjust the effect
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
effect, the knob adjusts the reverb time.
11
11
HALL 1
5
SMALL STAGE 1
99
99
CHORUS
C
TREMOLO
22
22
ROOM 1
6
VOCAL ECHO
00
00
EARLY REF.
D
SINGLE DELAY
33
33
PLATE 1
7
KARAOKE
AA
AA
GATE REVERB
E
DYNA FILTER
44
44
LARGE STAGE 1
8
DELAY
BB
BB
REVERSE GATE
F
PITCH CHANGE
Adding Some Reverb
EFF1 knobs
PROGRAM dial
EFF1 ON switch
EFF1 RTN fader
Quick Guide
Mixer Basics
EMX5016CF Owners Manual
11
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 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.
Using the Compressors to Enhance Vocals
COMP knobs
12
EMX5016CF Owners Manual
Mixer Basics
Making the Most of Your Mixer
An Introduction
A Place for Everything and Everything in its Place
A Plethora of ConnectorsWhat Goes Where?
Questions youre 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 Whats the difference?.
Lets 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 phonogram), but the term isnt used much
these daysbesides, its too easily confusable with phone jacks,
below. RCA pin jacks are always unbalanced, and generally carry a line-
level signal at 10 dB, nominal. Youre 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.
The Versatile Phone Jack
The name phone jack arose simply because this configuration was first
used in telephone switchboards. Phone jacks can be tricky because you
cant always tell what type of signal theyre designed to handle just by
looking at them. It could be unbalanced mono, unbalanced stereo,
balanced mono, or an insert patch point. The connectors label will
usually tell you what type of signal it handles, as will the owners manual
(you do keep your manuals in a safe place, dont 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
unbalanced signals with no problem. Microphone cables usually have
this type of connector, as do the inputs and outputs of most professional
audio gear.
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.
Stereo/TRS phone plug
Mono phone plug
Sleeve
Ring
Tip
Male
Female
Making the Most of Your Mixer
EMX5016CF Owners Manual
13
Mixer Basics
Balanced, UnbalancedWhats the Difference?
In a word: noise. The whole point of balanced lines is noise
rejection, and its something theyre very good at. Any length of wire
will act as an antenna to pick up the random electromagnetic
radiation were 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.
Thats why balanced lines are the best choice for long cable runs. If
your studio is basically confined to your desktop and all connections
are no more than a meter or two in length, then unbalanced lines are
fineunless youre surrounded by extremely high levels of
electromagnetic noise. Another place balanced lines are almost
always used is in microphone cables. The reason for this is that the
output signal from most microphones is very small, so even a tiny
amount of noise will be relatively large, and will be amplified to an
alarming degree in the mixers 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
Microphones: Use balanced lines.
Short line-level
runs:
Unbalanced lines
are fine if youre in a
relatively noise-free
environment.
Long line-level
runs:
The ambient
electromagnetic
noise level will be
the ultimate
deciding factor, but
balanced is best.
Hot (+)
Cold ()
Ground
Balanced noise cancellation
Unbalanced noise
Noise
Source Cable Receiving device
Source Cable
Phase
inversion
Noise
Noise-free
signal
Phase
inversion
Receiving device
Receiving device
Noise cancelled
14
EMX5016CF Owners Manual
Making the Most of Your Mixer
Mixer Basics
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.
Signal Levels and the Decibel
Lets 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. Thats 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 the
basic decibel unit. In the case of dBu, 0 dBu is specified as a signal level of 0.775 volts. For example, if a
microphones output level is 40 dBu (0.00775 V), then to raise that level to 0 dBu (0.775 V) in the mixers
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 mixers input and outputs is marked on the
panel or listed in the owners manual.
Hot
Cold
Shield
(Ground)
Outer
Insulation
Balanced Unbalanced
+ 20 dBu
0 dBu
0.775 V
-
20 dBu
-
40 dBu
-
60 dBu
The inputs and outputs on home-use audio gear
usually have a nominal level of 10 dBu.
Most professional mixers, power amplifiers, and other
types of equipment have inputs and outputs with a
nominal level of +4 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
drum beat might produce a level as high as 0 dBu.
Making the Most of Your Mixer
EMX5016CF Owners Manual
15
Mixer Basics
Making Better Mixes
Approaching the MixWhere 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 youre mixing will produce much better results, and faster.
There are no rules, and youll 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 offall the way down.
Its also possible to start with all faders at their nominal settings, but its 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?
Example1: 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&B Groove
The approach will be totally different if youre mixing a funky R&B
number that centers on the groove. In this case 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 instrumentwith 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.
16
EMX5016CF Owners Manual
Making the Most of Your Mixer
Mixer Basics
To EQ or Not to EQ
In general: less is better. There are many situations in which youll 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 EQand most commonly bad boostjust sounds terrible.
Cut for a Cleaner Mix
For example: cymbals have a lot of energy in
the mid and low frequency ranges that you
dont 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. Youll 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 powerful
low end that can benefit from a bit of low-
frequency roll-off to let other instruments
notably drums and bassdo their jobs more
effectively. Naturally you wont want to do this if
the piano is playing solo.
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. Youll have to use your ears, though, because
each instrument is different and sometimes youll want the snap of a bass guitar, for example, to come
through.
Boost with Caution
If youre trying to create special or unusual
effects, go ahead and boost away as much as
you like. But if youre 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
boost can give certain instruments more air.
Listen, and if things dont sound clear and
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,
increasing noise and potentially overloading
the subsequent circuitry.
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.
“A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.
20 50 100 200 500 1 k 2 k 5 k 10 k 20 k
(
Hz
)
Piano
Bass Drum
Snare Drum
Bass
Guitar
Trombone
Trumpet
Cymba
l
Fundamental: The frequency that determines the basic musical pitch.
The fundamental and harmonic frequency ranges of some
musical instruments.
Harmonics: Multiples of the fundamental frequency that play a role
in determining the timbre of the instrument.
Signal
Level (dB)
Frequency (Hz)
LOW Boost
LOW Flat
LOW Cut
MID Boost
MID Flat
HIGH Boost
HIGH Flat
HIGH Cut
MID Cut
Making the Most of Your Mixer
EMX5016CF Owners Manual
17
Mixer Basics
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 going 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 musics 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 tunes
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
upper frequency range, try selecting a different effect
program. Its 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 dont
want reverb to dominate the mix unless you are
trying to create the effect of a band in a cavewhich
is a perfectly legitimate creative goal if thats the sort
of thing youre 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, were 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 filter effect and this causes the
shimmering sound we hear. Phasing is the subtlest
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.
18
EMX5016CF Owners Manual
Making the Most of Your Mixer
Mixer Basics
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.
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.
Compression can be used to make a mix seem
bigger and louder by producing a more saturated
sound. Professional compressors have numerous
parameters that need to be carefully adjusted:
attack, release, threshold, level, and sometimes
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.
The EMX compressor makes achieving great
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 youll 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 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? Thats where the focus of your mix should be. Youre 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.
OUTPUT
INPUT
(Min)
(Max)
EMX5016CF Owners Manual
19
Reference
Front & Rear Panels
Controls on Each Channel
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 micro-
phone, be sure to turn the PHANTOM
switch c to its ON position.
INPUT B: A TRS phone-type balanced line input
jack (T: hot, R: cold, S: ground). Accepts
both balanced and unbalanced line input.
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, how-
ever, as these will not be affected by phantom power.
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.
2 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 c to its ON position.
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, how-
ever, as these will not be affected by phantom power.
If you wish, you may use the channel pair’s LINE and
MIC jacks together at the same time. But note that the
levels cannot be adjusted independently.
1
2
Channels
9/10 to 15/16
(Stereo)
Channels
1 to 8
(Monaural)
Cold ()
Ground Hot (+)
R: Cold ()
S: Ground T: Hot (+)
CAUTION
NOTE
CAUTION
NOTE
Reference
20
EMX5016CF Owners Manual
Front & Rear Panels
Reference
3 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
YIC025, YIC050, or YIC070—as shown below.
4 [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 ( ). If you have connected a microphone or
other mic-level device, set the switch to OFF ( ).
5 GAIN Control
Adjusts the gain applied to the input signal level. To
get the best balance between the S/N ratio and the
dynamic range, adjust the gain so that the PEAK indi-
cator D 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.
6 (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.)
7 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.
3
7
8
8
4
5
5
66
A
B
C
E
F
D
B
C
E
F
G G
D
9 9
A
0 0
Channels
9/10 to 15/16
(Stereo)
Channels
1 to 8
(Monaural)
NOTE
To the input jack of the
external processor
To the output jack of the
external processor
Sleeve (Ground)
Tip:OUT
Tip:IN
To the INSERT I/O jack
Sleeve (Ground)
Sleeve (Ground)
Ring :IN
Tip:OUT
Front & Rear Panels
EMX5016CF Owner’s Manual
21
Reference
8
Equalizer (HIGH, MID, and LOW)
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. The upper knob sets the center frequency 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 “ ” 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.
9
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 “ ” position. Note that you can use the PRE
switch
0
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 AUX1/2 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.
0
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.
A
EFF1/2 Knobs
Each knob adjust the level of the signal sent from the
channel to the EFFECT1/2 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 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
H
.
The level into the EFFECT1/2 buses is affected by
the setting of the channel’s fader
G
.
B
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.
C
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.
To reduce noise, turn off all unused channels.
D
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.
E
SIGNAL Indicator
Lights up when a signal is being input into the channel.
F
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. To set the switch on, press it in so that
it lights up.
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 (
F
,
M
,
i
) and AFL
j
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.
G
Channel Fader
Adjusts the signal’s output level. Use these faders to
adjust the volume balance among the various channels.
To reduce noise, set the fader sliders for unused chan-
nels all the way down.
Band
Type Base Frequency
Maximum
Cut/Boost
HIGH
Shelving 10 kHz
±15 dBMID Peaking
250 Hz to 5 kHz variable
(CHs 1 to 8)
2.5 kHz (CHs 9/10 to 15/16)
LOW Shelving 100 Hz
NOTE
NOTE
NOTE
NOTE
NOTE
22
EMX5016CF Owners Manual
Front & Rear Panels
Reference
Digital Effects Section
H SEND Jacks
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 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,
please be sure to turn the EFF1/2 knob for that chan-
nel pair to “0”.
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.
I 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.
J 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).
K AUX1/2 Knobs
Each knob adjusts the level of the effected sound into
the corresponding AUX1 and AUX2 buses.
L 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 in so that it lights up.
As an alternative to the ON switch, you can use a sepa-
rately sold FC5 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.
M 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.
The signal will not feed into the PFL bus if the
effect’s ON switch is turned off.
The PFL (
F, M, i) and AFL j 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.
N EFF1/2 RTN Faders
Adjusts the level of the effected sound into the Stereo
bus.
H
K
J
N
M
L
J
N
K
L
I
M
I
CAUTION
NOTE
NOTE
NOTE
Front & Rear Panels
EMX5016CF Owners Manual
23
Reference
Master Section
O 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 g. You would typically use these
jacks to connect to an external mixer or a supplemen-
tary SR system.
P 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 l
and graphic equalizer W. As the signal is not adjusted
by these controls, please be sure to make appropriate
level adjustments at the external recording device side.
Q EFF1/2 ON/OFF Jacks
These phone input jacks are for connection to a sepa-
rately sold FC5 foot switch. The foot switch can be
used as an alternative to the ON switch to toggle the
effector on and off.
R ST OUT Jacks
These unbalanced phone jacks output the mixed stereo
signal (L and R), where the level is adjusted by the ST
master fader l. You would typically connect these
jacks to a power amp or powered speakers.
S PHONES Jack
Connector for headphones. This is a balanced stereo
phone-type output jack.
T 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.
U GEQ (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 R, ST SUB OUT jacks
O, and SPEAKERS jacks m.
V GEQ +/ 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: 0dB, ±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.)
W GEQ ON Switch
This switch toggles the graphic equalizer on or off.
The switch is illuminated when on.
S
T
W
Q
R
U
V
P
O
NOTE
24
EMX5016CF Owners Manual
Front & Rear Panels
Reference
X 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.
MEASURE mode
There are two measurement methods: noise measure-
ment, engaged by pressing and holding the MEA-
SURE/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 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.
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.
Y VOCAL, DANCE, SPEECH Switches
Pressing either of these switches recalls the preset
GEQ settings. The GEQ display U indicates the set-
tings, and the switch indicator lights up. If you change
the GEQ settings after recall, the switch indicator turns
off. To restore the preset settings, press the switch
again.
Z USER 1, USER 2, USER 3 Switches
These switches are used to store the GEQ settings in
each memory area and recall them.
Storing
Press and hold the USER switch for two seconds or
longer until the switch indicator flashes.
Recalling the stored settings
Press the USER switch to be recalled. The settings are
recalled and indicated on the GEQ display U, 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.
b
X
\
[
a
Y
Z
]
^
NOTE
Front & Rear Panels
EMX5016CF Owners Manual
25
Reference
[ 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.
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 Suppressor (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.
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.
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 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.
\ 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
W and MAXIMIZE ON switch \ restores
the initial factory settings for GEQ, Effects, Feedback
Suppressor, and MAXIMIZE.
] 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
amp is too high and there is risk of damage to your
equipment. Reduce the setting of the ST master fader
l or the AUX1 or AUX2 fader f 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 + 75W/4 ohms
a POWER AMP Switch
Selects the output that gets sent to the SPEAKERS
jacks, as follows.
L/R:
SPEAKERS jacks A1 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 A1 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 A1 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 AUX1 and AUX2 faders, respectively.
b 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.
NOTE
NOTE
NOTE
CAUTION
26
EMX5016CF Owners Manual
Front & Rear Panels
Reference
c 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.
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.
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 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.
d LEVEL Meters
If the ST/AFL-PFL switch e is set to ST, these meters
show the L and R levels of the signal output from the
ST OUT jacks R. If the ST/AFL-PFL switch is set to
AFL-PFL, the meters show the levels output from the
PHONES jack S.
Note that the signal output to the ST OUT jacks is
also passed through the internal amplifier and then
output at the SPEAKERS jacks
m. Keep an eye on
the LIMITER lamps
] to ensure that the level at the
SPEAKERS jacks does not stay too high.
e ST/AFL-PFL Switch
If the switch is set to AFL-PFL ( ), 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 ( ), the meters show the level
output at the ST OUT jacks following adjustment by
the ST master fader.
The PFL (F, M, i) and AFL j switches select the
mix to be monitored at the PHONES jack.
f PHONES Control
Controls the level of the signal output to the PHONES
jack.
g 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.
h 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 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.
i
e
f
g
h
j
l
d
k
c
NOTE
CAUTION
NOTE
NOTE
NOTE
NOTE
Front & Rear Panels
EMX5016CF Owners Manual
27
Reference
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 con-
trol) is fed to the PFL bus so that it can be monitored at
the PHONES jack.
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 (
F, M, i) and AFL j 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.
j 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.
The signal levels into the AFL bus are not affected
by the settings of the ST master fader or the
AUX1/2 fader settings.
The PFL (
F, M, i) and AFL j 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.
k AUX1 and AUX2 Faders
The AUX1 fader adjusts the level of the output from
the SPEAKERS A jacks m or the SEND AUX1 jack
H. The AUX2 fader adjusts the level of the output
from the SPEAKERS B jacks m or the SEND AUX2
jack H.
l ST Master Fader
Adjusts the level to the SPEAKERS jacks m or ST
OUT jacks R.
Does not affect the level of the output from the ST
SUB OUT jacks.
The signal to the SPEAKERS jacks is determined
by the setting of the POWER AMP switch
a.
NOTE
NOTE
NOTE
28
EMX5016CF Owners Manual
Front & Rear Panels
Reference
Rear Panel
m 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 a.
A1, B1: NEUTRIK NL4 Speakon outputs. Polarities
are as shown below.
A2, B2: Phone output jacks.
n 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
faders are all the way down.
o AC IN Connector
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.
Before turning the power ON or OFF, be sure to turn
both the ST master fader and the AUX1 and AUX2
faders are all the way down.
p 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.
o
p
n
m
Neutrik Plug A1 and B1 Connectors
1+
1
2+
2
2+ 2-
1- 1+
+
CAUTION
CAUTION
EMX5016CF Owners Manual
29
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.
2-channel connection
When connecting by 2-channel connection, use speakers with impedance of 4 ohms to 8 ohms.
2-channel parallel connection
When connecting speakers in parallel as shown below, use speakers with impedance of 8 ohms to 16 ohms.
CAUTION
4 8 4 8
8 16 8 16 8 16 8 16
Reference
30
EMX5016CF Owners Manual
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.
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
of the room.
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.
2
Set up channel 1 as follows, and lower the ST Master
fader all the way down.
* Adjust these settings in step 4.
Make sure that all faders other than channel 1 are
set to their minimum and that no other signals are
input.
Set the POWER AMP switch to L/R.
3
Press and hold the MEASURE/CORRECT switch
for two to three seconds. The indicator 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 0dB position.
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.
7
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 stage by exces-
sive equalization, the correction curve is never set
over ±6dB.
9
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.
10
If necessary, store the GEQ settings to a USER
switch.
[Block Diagram of Noise Measurement]
STEREO L
R
ST OUT L
R
FRC Noise
Measurement
Noise Generator
Controls Settings
[26dB] switch Proper level*
GAIN control Proper level*
switch Off
COMP knob 0
HIGH 0dB
MID F
MID 0dB
LOW 0dB
AUX1 knob
AUX2 knob
EFF1 knob
EFF2 knob
PAN control Center
ON switch On
Channel fader ( 0dB)*
NOTE
NOTE
NOTE
Setting the GEQ with the FRC function
EMX5016CF Owner’s Manual
31
Reference
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.
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.
2
Set up channels 1 and 15/16 as follows, and lower
the ST Master fader all the way down.
Channel 1
Channels 15/16
* Adjust these settings in step 4.
Make sure that all faders other than channels 1 and
15/16 are set to their minimum and that no other
signals are input.
Set the POWER AMP switch to L/R.
3
Press and hold the MEASURE/CORRECT switch
for three seconds or longer. The indicator begins
flashing slowly, and measurement of the frequency
characteristics starts.
4
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 0dB position, and
then adjust the ST Master fader.
To adjust the channel 1 input level, turn on the PFL
switch, adjust the [26dB] switch and GAIN control
so that the LEVEL meter 0 flashes occasionally, and
set the channel faders to the 0dB position.
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.
7
Turn off the channels 1 and 15/16 ON switches 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 stage by exces-
sive equalization, the correction curve is never set
over ±6dB.
9
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.
10
If necessary, store the GEQ settings to a USER
switch.
[Block Diagram of Music Playback Measurement]
Sound
Source
EFFECT1
EFFECT2
ST OUT L
R
FRC Music
Playback
Measurement
Controls
Settings
[26dB] switch Proper level*
GAIN control Proper level*
switch Off
COMP knob 0
HIGH 0dB
MID F
MID 0dB
LOW 0dB
AUX1 knob
AUX2 knob
EFF1 knob
0
EFF2 knob
Nominal “ position
PAN control Center
ON switch On
Channel fader
(
0dB)*
Controls
Settings
GAIN control Proper level*
switch Off
HIGH 0dB
MID 0dB
LOW 0dB
AUX1 knob
AUX2 knob
EFF1 knob
Nominal “ position
EFF2 knob
0
PAN control Center
ON switch On
Channel fader
(
0dB)*
NOTE
NOTE
NOTE
32
EMX5016CF Owners Manual
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.
The EMX unit requires 12U of rack space.
How to install the rack-mount hardware
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 removed from
the EMX unit.
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
NOTE
RK5014 Rack Mount Kit
1
2
CAUTION
3
CAUTION
EMX5016CF Owners Manual
33
Reference
Setup
Top panel
Rear Panel EMX Installation
Vents are located on the front and rear of the EMX
unit. Position the unit so that the vents are not
blocked by nearby walls or objects.
DI
DOWN UP
OCTAVE
SCENE
SF1 SF
2
SF
3
SF
4
SF
5
F
1
F
2
F
3
F
4
F
5
F
6
INFORMATION
COMMON
ELEMENT/PERF. PART/ZONE
FAVORITES
DRUM KITS
A. PIANO KEYBOARD ORGAN
PRE 5 PRE 6
PRE 1 PRE 2 PRE 3 PRE 4
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer /
Modular Synthesis Plug-in System / Real-time External Control Surface
USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFG
H
87654321
16
MUTE
TRACK
SELECT
SECTION
GROUP
NUMBER
CATEGORY
SEARCH
BANK
SOLO
15
1412 13
11
10
9
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
USER 2
STRINGS
PLG 1
SLOT
1
SLOT
2
SLOT
3
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
REMOTE ARPEGGIO
ON/OFF ON/OFF
R-AUDIO
G-MIDI
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
VOICE
SONG
PERFORM MASTER
PATTERN FILE
EFFECT
MODE
SEQ TRANSPORT
SEQUENCER
LOCATE 1 2
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT
COMPARE SCENE STORE
SET LOCATE
JOB STORE
DEMO
EXIT ENTER
EXECUTE
DEC/NO INC/YES
KNOB
CONTROL
FUNCTION
MASTER
VOLUME
ZONE 1
CS 1
VOLUME
1
SWING
CUTOFF
PAN
ASSIGN A
GATE TIME
RESONANCE
REVERB
ASSIGN B
VELOCITY
ATTACK
CHORUS
ASSIGN 1
UNITMULTIPLY
RELEASE
TEMPO
ASSIGN 2
LOW
KN
1
VOLUME
2
LOW MID
KN
2
VOLUME
3
HIGH MID
KN
3
VOLUME
4
HIGH
KN
4
CS 2
ZONE 2
CS 3
ZONE 3
CS 4
ZONE 4
ÊARP FX
EQ
TONE
ASSIGN
PAN/SEND
CD Player
Drums
Recorder
Synthesizer
Guitar
Bass
Microphones
Microphones
Foot Switch
(YAMAHA FC5)
Speakers
Power Amp
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
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.
NOTE
Effect processor
(exciter)
Subwoofer
Effect processor
(delay)
Headphones
Power Amp
Monitor
Speakers
Guitar
Lamp
Intake
Exhaust
At least
30 cm
CAUTION
Reference
34
EMX5016CF Owner’s Manual
Troubleshooting
Power doesn’t come
on.
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 out-
let.
Power suddenly went
off.
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.
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,
it may cut off the output to the internal amp until things cool down.
No sound.
Are microphones, external devices, and speakers connected correctly?
Are the GAIN controls, channel faders, ST master fader, and AUX1/2 fad-
ers set to appropriate levels?
Is the POWER AMP switch set correctly? When outputting a stereo sig-
nal, set it to the L/R position.
Check that the speaker cables are not shorted.
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-
torted, or noisy.
Are the GAIN controls, channel faders, ST master fader, and AUX1/2 fad-
ers set to appropriate levels?
Check that the [26 dB] switches on channels 1 to 8 are set correctly.
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.)
Is the input signal from the connected device set to an appropriate level?
You may be applying excessive digital effect. Check your effect settings.
No effect is applied.
Check that the EFF1/2 knob on each channel is correctly adjusted.
Be sure that the internal effector’s ON switch is turned on.
Check that the EFF1/2 RTN fader is correctly adjusted.
The sound from the
speakers seems dull.
I want a more forceful
sound.
Try turning on the YS Processing switch.
Try turning on the MAXIMIZE ON switch.
Adjust the equalizers (HIGH, MID, and LOW knobs) on each channel.
Adjust the graphic equalizers.
I want spoken words
to be heard more
clearly.
Check that the switches (high pass filters) for the relevant channels
are turned ON as appropriate.
Be sure that the YS Processing switch is turned off.
Adjusting the equalizers (HIGH, MID, and LOW knobs) on each channel.
Adjusting the graphic equalizers.
I want to output a mon-
itor signal through
speakers.
Connect a powered speaker to the AUX1/2 jacks. Then adjust the
AUX1/2 signal by adjusting the channel AUX1/2 controls and the AUX1
and AUX2 faders.
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.)
I want to initialize the
GEQ and digital effect
settings.
Turning on the power while holding the GEQ ON switch and MAXIMIZE
ON switch restores the initial factory settings for GEQ, Effects, Feedback
Suppressor, and MAXIMIZE.
EMX5016CF Owners Manual
35
Reference
Specications
General Specications
* All level controls are nominal, when measured. Output impedance of signal generator: 150
Conditions MIN TYP MAX Unit
Maximum Output Power
(SPEAKERS)
RL=4
Both channels drive, 1 kHz,
THD+N 0.5%
Rated power supplies:
120V, 230V and 240V
500
W
RL=8
350
(US, AU)
320 (EU)
Total Harmonic Distortion
(THD+N)@20Hz-20kHz
ST, ST SUB, AUX, EFFECT +14dBu output into 600 0.3
%
REC 0dBV output into 10k 0.5
Frequency Response
ST, ST SUB, AUX, EFFECT 20Hz-20kHz, 1kHz output level,
GAIN at minimum level, PAD=Off,
+4dBu, RL=8, 1W
3.0 0.0 1.0
dB
SPEAKERS 3.0 0.0 1.0
EIN=Equivalent Input Noise CH1-8 MIC
GAIN at maximum level,
20Hz-20kHz
128 dBu
Residual Output Noise
SPEAKERS 68
dBu
ST, ST SUB, AUX 95
Crosstalk @ 1kHz
Adjacent inputs 68
dB
Input to output 68
Maximum Voltage Gain @1kHz
MIC to SPEAKERS 109
dB
MIC to ST OUT 84
MIC to ST SUB OUT 80
MIC to AUX SEND (PRE) 80
MIC to AUX SEND (POST) 90
MIC to EFFECT SEND 80
MIC to REC OUT 62.2
CH 9/10-15/16 LINE to ST OUT 58
Phantom Voltage CH 1-15/16 XLR No load 48 V DC
Channel Equalizer
Maximum Variation: ±15dB
Turn over/roll-off frequency of
shelving is 3dB below maxi-
mum level.
HIGH 10kHz (Shelving)
MID (MONO) 250Hz-5kHz (Peaking)
MID (ST) 2.5kHz (Peaking)
LOW 100Hz (Shelving)
Compressor (COMP) CH1-8
On each channel 1-8: One control adjusts the Gain, Threshold, and Ratio
simultaneously.
PEAK Indicator
On each channel: Indicator lights if post-EQ signal comes within 3dB of the
clipping level.
SIGNAL Indicator On each channel: Indicator lights if post-EQ signal reaches 10dB.
STANDBY Switch CH1-8 mute
Level Meter ST, PFL/AFL
Two 12-points LED level meter (PEAK, +5, +3, +1, 0, 1, 3, 5, 7, 10,
15, 20 dB)
PEAK lights if the signal comes within 3 dB of the clipping level.
Digital Graphic Equalizer ST OUT
9-band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz), ±12 dB (maximum varia-
tion)
Preset × 3, User preset × 3
Frequency Response Correction (FRC) System Pink noise/Music playback measurement mode
Feedback Suppressor (FBS) AUTO/MANUAL mode
MAXIMIZE 3-band compressor on/off
Digital Effect
2 effect processors, 16 programs each, PARAMETER control each
Foot switches (effects on/off)
Lamp XLR-3-31 type, 12 V DC between pins 2 and 3, 5 W max.
Maximum Output Power Select Switch 500W+500W, 200W+200W, 75W+75W
Power Amplier Signal Select Switch L/R, AUX1/MONO, AUX1/AUX2
Yamaha Speaker Processing SPEAKERS Speaker EQ on/off
Power Amplier Protection
POWER switch on/off mute
DC-fault: power supply shutdown/manual reset
Thermal/heatsink temp 90°C: output mute/auto reset
Vl limiter/RL 2
Clip limiter/THD 1%: compression, Indicator × 2
Power Supply Protection Thermal/heatsink temp 100°C: power supply shutdown/manual reset
Cooling Dual variable-speed fan
Power Consumption 500 W
AC Cord Length 2500 mm
Dimensions
Height 155
mmDepth 493
Width 444
Net Weight 11 kg
<
=
>
=
<
=
>
=
>
=
36
EMX5016CF Owners Manual
Specifications
Reference
Input Characteristics
*1 0dBu 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.
Output Characteristics
*1 0dBu is referenced to 0.775Vrms. 0dBV is referenced to 1Vrms.
*2 Phone jacks are unbalanced.
Input Terminals PA D GAIN
Actual Load
Impedance
For Use With
Nominal
Input level
Connector
Sensitivity *2 Nominal
Max. before clip
CH INPUT A 1-8
0 dB
60 dB
3 k
50-600
Mics
80 dBu
(0.078 mV)
60 dBu
(0.775 mV)
40 dBu
(7.75 mV)
XLR-3-31 type *3
16 dB
36 dBu
(12.3 mV)
16 dBu
(123 mV)
+4 dBu
(1.23 V)
26 dB
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)
CH INPUT B 1-8
0 dB
60 dB
10 k
600
Lines
80 dBu
(0.078 mV)
60 dBu
(0.775 mV)
40 dBu
(7.75 V)
Phone jack *4
16 dB
36 dBu
(12.3 mV)
16 dBu
(123 mV)
+4 dBu
(1.23 V)
26 dB
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)
ST CH MIC INPUT
9/10-15/16
60 dB
3 k
50-600
Mics
80 dBu
(0.078 mV)
60 dBu
(0.775 mV)
40 dBu
(7.75 mV)
XLR-3-31 type *3
16 dB
36 dBu
(12.3 mV)
16 dBu
(123 mV)
10 dBu
(245 mV)
ST CH LINE INPUT
9/10-15/16
34 dB
10 k
600
Lines
54 dBu
(1.55 mV)
34 dBu
(15.5 mV)
14 dBu
(155 mV)
Phone jack *5
RCA Pin jack *5
+10 dB
10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
CH INSERT IN 1-8
——10 k
600
Lines
20 dBu
(77.5 mV)
0 dBu
(0.775 V)
+20 dBu
(7.75 V)
Phone jack *5
Output Terminals
Actual Source
Impedance
For Use With
Nominal
Output level
Connector
Nominal Max. before clip
ST OUT [L, R] 150 600 Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2
ST SUB OUT [L, R] 150 600 Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2
AUX SEND 1, 2 150 600 Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2
EFF SEND 1, 2 150 600 Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2
CH INSERT OUT 1-8 600 10 k Lines 0 dBu (0.775 V) +20 dBu (7.75 V) Phone jack *2
REC OUT [L, R] 600 10 k Lines 10 dBV (316 mV) +10 dBV (3.16 V) RCA pin jack
PHONES [L, R] 100 40 Lines 3 mW 75 mW Phone jack (TRS)
SPEAKERS 0.1 4 Speakers 125 W 500 W
SPEAKON
Phone jack *2
Specifications
EMX5016CF Owners Manual
37
Reference
Digital Effect Program List
EFFECT 1
EFFECT 2
No. Program Parameter Range Descriptions
1 HALL 1 Reverb Time 0.3 to 10.0 s Reverb simulating a large space such as a concert hall.
2 ROOM 1 Reverb Time 0.3 to 3.2 s Reverb simulating the acoustics of a small space (room).
3 PLATE 1 Reverb Time 0.3 to 10.0 s
Simulation of a metal-plate reverb unit, producing a more hard-edged
reverberation.
4 LARGE STAGE 1 Reverb Time 0.3 to 10.0 s Reverb simulating a large stage.
5 SMALL STAGE 1 Reverb Time 0.3 to 10.0 s Reverb simulating a small stage.
6 VOCAL ECHO Delay 30.0 to 743.0 ms Echo designed for conventional vocals.
7 KARAOKE Delay 40.0 to 265.0 ms Echo designed for karaoke (sing-along) applications.
8 DELAY Delay 20.0 to 743.0 ms Feedback delay adding multiple delayed signals.
9 CHORUS LFO Freq 0 to 39.7 Hz Creates a thicker sound by modulating the delay time.
10 EARLY REF. Room Size 0.1 to 10.0
An effect which isolates only the early reection components from
reverberation, creating a ‘flashier effect than conventional reverb.
11 GATE REVERB Room Size 0.1 to 10.0
An effect which abruptly cuts the tail-end of the reverberation, making
a more powerful sound.
12 REVERSE GATE Room Size 0.1 to 10.0 A reverse-playback type early reection.
13 TREMOLO LFO 0 to 39.7 Hz An effect which cyclically modulates the volume.
14 SINGLE DELAY Delay 0 to 743.0 ms Monaural delay adding a delayed signal.
15 DYNA FILTER Sensitivity 0 to 127 An effect which applies a low pass lter.
16 PITCH CHANGE Pitch 12 to +12 An effect which changes the pitch of the signal.
No. Program Parameter Range Descriptions
1 HALL 2 Reverb Time 0.3 to 10.0 s Reverb simulating a large space such as a concert hall.
2 ROOM 2 Reverb Time 0.3 to 3.2 s Reverb simulating the acoustics of a small space (room).
3 PLATE 2 Reverb Time 0.3 to 10.0 s
Simulation of a metal-plate reverb unit, producing a more hard-edged
reverberation.
4 LARGE STAGE 2 Reverb Time 0.3 to 10.0 s Reverb simulating a large stage.
5 SMALL STAGE 2 Reverb Time 0.3 to 10.0 s Reverb simulating a small stage.
6 VOCAL ECHO Delay 30.0 to 743.0 ms Echo designed for conventional vocals.
7 KARAOKE Delay 40.0 to 265.0 ms Echo designed for karaoke (sing-along) applications.
8 DELAY Delay 20.0 to 743.0 ms Feedback delay adding multiple delayed signals.
9 CHORUS LFO Freq 0 to 39.7 Hz Creates a thicker sound by modulating the delay time.
10 PHASER LFO Freq 0 to 8.08 Hz Cyclically changes the phase to add modulation to the sound.
11 FLANGER LFO Freq 0 to 8.08 Hz Adds a feeling of pitched sound.
12 SYMPHONIC LFO Depth 0 to 127 Multiplies the sound for thicker texture.
13 DOUBLER Pitch Fine 0 to 50 cent
Creates the effect of two voices or two instruments singing or playing
the same phrase.
14 AUTO WAH LFO Freq 0 to 8.41 Hz A wah-wah effect in which the the frequency is modulated by LFO.
15 DISTORTION Drive 0 to 63 Adds a sharp-edged distortion to the sound.
16 RADIO VOICE Cutoff Offset 0 to 63
Recreates the lo- sound of an AM radio. The parameter adjusts the
frequency band to be emphasized.
38
EMX5016CF Owners Manual
Specifications
Reference
Dimensional Diagrams
485
8
493
145
6
155
Unit: mm
444 (440 excluding screw heads)
Specifications
EMX5016CF Owner’s Manual
39
Reference
Block Diagram and Level Diagram
BA
BA
BA
BA
SUM SUM
SUM
SUM SUM
SUM
SUMSUM
SUM
SUM
SUM
SUM
BA
BA
BA
BA
BA
BA
INV
INV
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
BA
BA
SUM
DR
DR
INV
PA
PAINV
HA
BA
HA
HA
3-Stage EQ
3-Stage EQ
INV
HA BA
BA
INV
PA D
INSERT
ST CH INPUT
ST CH LINE
[-60dBu to -16dBu]
[-34dBu to +10dBu]
[-30dBu to +14dBu]
[0dBu]
[0dBu]
[0dBu][0dBu]
GAIN
[-34dBu to +10dBu]
3-Stage EQ
ON
YE
LOW
MID
HIGH
LOW
MID
HIGH
Mid f
CH9/10,11/12,13/14,15/16
EFF2 ON/OFF
EFF1 ON/OFF
PHANTOM
RE
+48V
26dB
COMP
GAIN
COMP
(TH)
AUX1
AUX1
L
MONO
AUX2
AFL/PFL
ST
AFL/PFL
ST
R
YSP
LIMITER
POWER AMP
LIMITER
YSP
[3mW 40ohms]
PHONES
[12V]
LAMP
SPEAKERS
[500WMAX @ 4ohms]
L
AUX1
AUX1
RE
LIMITER
RE
YE
75W
200W
500W
75W
ON
YS PROCESSING
(METER SELECT)
(LED METER)
ON
200W
500W
LIMITER
[+4dBu]
EFF 1
[+4dBu]
EFF 2
[+4dBu]
AUX2
[+4dBu]
AUX1
[0dBu][0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
AFL
AFL
[0dBu]
[0dBu]
[0dBu]
[0dBu] [-10dBu]
AUX1
[-10dBu]
AUX1
[0dBu]
[0dBu]
PHONES
[-16dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
RE
Clip Level Clip Level
Clip Level
CH INPUT (PAD ON)
GAIN Min. [+10dBu]
ST CH LINE
GAIN Min. [+10dBu]
ST CH LINE
GAIN Max. [-34dBu]
ST CH IN
[-10dBu]
ST CH MIC
[-60dBu]
ST CH MIC
[-16dBu]
CH INPUT (PAD ON)
GAIN Max. [-34dBu]
CH INPUT (PAD OFF)
GAIN Min. [-16dBu]
CH INPUT (PAD OFF)
GAIN Max. [-60dBu]
EFF 2RTN
EFF2 OUT L
EFF IN 1
EFF IN 2
A/D
A/D
D/A
D/A
EFF2 OUT R
AUX1
AUX2
PFL
PROGRAM
EFFECT 1
PARAMETER
EFF 1 ON
YE
PROGRAM
EFFECT 2
PARAMETER
EFF 2 ON
YE
80
HPF
80
HPF
[-6dBu]
[-10dBu]
ST SUB OUT
L/MONO
REC OUT
[-10dBV]
SEND
ST SUB OUT
[+4dBu]
ST OUT
[+4dBu]
R
R
L
R
L
ST
RE
GR
PEAK
SIGNAL
RE
GR
YE
ON
PEAK
SIGNAL
(CH Fader)
[-10dBu]
[-10dBu]
PAN/BAL
EFF 2
EFF 1
AUX 2
AUX 1
PRE
PRE
PFL
PFL
AFL
(ST CH Fader)
[0dBu]
[0dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[0dBu]
[0dBu]
[-6dBu]
[-6dBu]
[-6dBu]
PA N
EFF 2
[-6dBu]
EFF 1
PRE
AUX2
PRE
AUX1
PFL
BA
[-10dBu]
[-6dBu]
[-6dBu]
EFFE 1RTN
EFF1 OUT L
D/A
D/A
EFF1 OUT R
AUX1
AUX2
PFL
[-10dBu]
[-6dBu]
[-6dBu]
STAND-BY
+30dBu
+40dBu
0dBu=0.775V
0dBV=1V
+20dBu
+10dBu
0dBu
-10dBu
-20dBu
-30dBu
-40dBu
-50dBu
-60dBu
-70dBu
+30dBu
+40dBu
+20dBu
+10dBu
0dBu
-10dBu
-20dBu
-30dBu
-40dBu
-50dBu
-60dBu
-70dBu
Clip Level
Clip Level
1
2
A
R
MONO
AUX2
1
2
B
INSERT I/O [0dBu]
ST SUB level control
ST, AUX fader [-10dBu]
ST OUT, ST SUB OUT [+4dBu]
PHONES [-16dBu]
[PHONES 3mW@40ohms]
SPEAKER OUT
MAXIMUM OUTPUT POWER [500W/4ohms]
[125W/4ohms]
(+29.2dBu)
(+35.2dBu)
AUX SEND, EFFECT SEND [+4dBu]
[-6dBu]
CH & ST CH to ST [0dBu] (PAN,BAL hard left/right)
CH & ST CH to AUX/EFFECT [-6dBu]
REC OUT [-10dBV]
CH fader [-10dBu]
AUX 1(MUTE)
ST L(MUTE)
ST R(MUTE)
AUX 2(MUTE)
EFFECT1(MUTE)
EFFECT2(MUTE)
AUX 1(NON-MUTE)
ST L(NON-MUTE)
ST R(NON-MUTE)
AUX 2(NON-MUTE)
EFFECT1(NON-MUTE)
EFFECT2(NON-MUTE)
PFL L/AFL L
PFL R/AFL R
[0dBu]
[0dBu]
[0dBu]
A/D
A/D
Multi
Band
Comp.
GEQ
+
FRC
FBS
DSP
ST OUT R
ST R
ST OUT L
ST L
D/A
D/A
INPUT A
INPUT B
[-60dBu to -16dBu]
[-34dBu to +10dBu]
MIC
L
[-60dBu to -16dBu]
CH9L,11L,13L,15L
[-34dBu to +10dBu]
R
CH10R,12R,14R,16R
[-34dBu to+10dBu]
CH INPUT
CH1-8
Yamaha Pro Audio global web site
http://www.yamahaproaudio.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
C.S.G., Pro Audio Division
© 2006-2012 Yamaha Corporation
WH17360 202POZC*.*-**D0
Printed in Indonesia

Transcripción de documentos

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. CAUT I ON RISK OF ELECTRIC SHOCK DO NOT OPEN 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. 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. IMPORTANT SAFETY INSTRUCTIONS 1 2 3 4 5 6 7 8 9 10 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 produce heat. 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. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 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 used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 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. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. (98-6500) IMPORTANT Please 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. 2 EMX5016CF Owner’s Manual emx5016CF_e_01.fm Page 3 Thursday, January 26, 2012 6:36 PM 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. The required voltage is printed on the name plate of the device. • Use only the included power cord. • 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. • Be sure to connect to an appropriate outlet with a protective grounding connection. Improper grounding can result in electrical shock. • 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. • Never insert or remove an electric plug with wet hands. If you notice any abnormality • If 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. • If 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. Do not open • 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 Yamaha service personnel. CAUTION 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: 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. • 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. Power supply/Power cord • Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. • 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. Connections Location • 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. • Use only speaker cables for connecting speakers to the speaker jacks. Use of other types of cables may result in fire. • Do not use speaker cables with a metal-housing connector. Doing so may result in electrical shock due to differences in voltage. Use speaker cables with a nonmetal-housing connector, or with a insulated-housing connector. • Before moving the device, remove all connected cables. • When setting up the device, make sure 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 EIA-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. • Do not block the vents. This device has ventilation holes at the front and rear to prevent the internal temperature from becoming too high. In particular, do not Handling caution • 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 speakers 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. (5)-4 EMX5016CF Owner’s Manual 3 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 qualifi ed 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 : EARTH BLUE : 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 terminals in your plug proceed as follows: The wire which 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. • This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires) FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. 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. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, 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 contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B) About this Manual This manual is divided into two main sections, as follows. ■ Mixer Basics (starts on page 7) 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 connectors; 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. 4 EMX5016CF Owner’s Manual 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 ............................................................................................................................................... 6 Before Turning On the Mixer................................................................................................................ 6 ■ Mixer Basics Quick Guide ......................................................................................................7 Getting Sound to the Speakers ............................................................................................................ 7 Adding Some Reverb ......................................................................................................................... 10 Using the Compressors to Enhance Vocals ...................................................................................... 11 Making the Most of Your Mixer ....................................................................12 A Place for Everything and Everything in its Place ............................................................................ 12 A Plethora of Connectors—What Goes Where?........................................................................ 12 Balanced, Unbalanced—What’s the Difference? ............................................................................... 13 How Do Balanced Lines Reject Noise? ............................................................................................. 13 A balanced cable has three conductors: ............................................................................................ 14 Signal Levels and the Decibel............................................................................................................ 14 Making Better Mixes........................................................................................................................... 15 Approaching the Mix—Where Do You Start?............................................................................. 15 To EQ or Not to EQ.................................................................................................................... 16 Ambience ................................................................................................................................... 17 The Modulation Effects: Phasing, Chorus, and Flanging ........................................................... 17 Compression .............................................................................................................................. 18 ■ Reference Front & Rear Panels.......................................................................................19 Controls on Each Channel ................................................................................................................. 19 Digital Effects Section ........................................................................................................................ 22 Master Section ................................................................................................................................... 23 Rear Panel ......................................................................................................................................... 28 Speaker Connections ....................................................................................29 2-channel connection ................................................................................................................. 29 2-channel parallel connection .................................................................................................... 29 Setting the GEQ with the FRC function .......................................................30 Rack Mounting ...............................................................................................32 Setup ...............................................................................................................33 Troubleshooting.............................................................................................34 Specifications.................................................................................................35 EMX5016CF Owner’s Manual 5 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............................................................................ 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 effector of your choice. Compressors ................................................................................................... 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 distortion 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 stereobus signal output, which enhances the overall output volume (MAXIMIZE function). Internal Power Amp ........................................................................................ page 25 The internal amp makes it possible to connect the SPEAKERS jacks directly to nonpowered 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 FRC............................................................................ 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 automatically adjust the graphic equalizer settings according to the measurement results to compensate for any sound field anomalies. Feedback Suppressor..................................................................................... page 25 This function automatically checks for and removes feedback. Before Turning On the Mixer ■ Connecting to Power 1 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. ■ Turning the Unit On and Off 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). For example: Sound source (external device) → EMX unit → Amps (Powered speakers) When turning power off, proceed in the opposite order. • 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. • Rapidly turning the unit ON and OFF in succession can cause it to malfunction. After turning the unit OFF, wait for about 10 seconds before turning it ON again. 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 EMX5016CF Owner’s Manual 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). Then connect your input devices (microphones, guitar, etc.) to the appropriate input jacks on the top panel. For details, see page 33. CAUTION • Before connecting input devices to the EMX, be sure that all of these devices (including microphones) are powered off. And before turning the power to any device on or off, be sure to turn the volume of that device all the way down. • 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 WRONG!! We recommend that you avoid connecting electric instruments (such as electric 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. EMX5016CF Owner’s Manual 7 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. If you have connected a line-level device, such as a keyboard or audio device, set the channel’s switch to the ON ( ). If you have connected a microphone or other mic-level device, set the switch to the OFF ( ). If you are using one or more condenser microphones for your inputs, set the PHANTOM switch to the ON position ( ). 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. • 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 minimum settings before operating the switch, to avoid risk of loud noises that could cause hearing loss or device damage. 8 EMX5016CF Owner’s Manual POWER switch 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). For example: Sound source (external device) → EMX unit → Amps (Powered speakers) 7 Adjust the GAIN control for each channel you are using so that the PEAK indicator comes on only at about maximum input level. NOTE 8 9 10 To use the LEVEL meter to get an accurate reading of the incoming signal level: Set the ST/AFL-PFL switch to AFL-PFL( ) and turn on the PFL switch for each channel you are using. Adjust the GAIN controls so that LEVEL meter indication occasionally rises above the “ ” (0) level. Note that 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. Adjust the channel faders on all occupied channels. Adjust the faders while listening to the output from the speakers. NOTE • To use the LEVEL meter to view the level being input to the internal amp: Set the ST/AFL-PFL switch to ST( ). • Use the LIMITER lamps to check for clipping of the signal from the SPEAKERS jacks. Note that the LIMITER lamps will come on earlier than the level meter's PEAK indicators come on. 11 Adjust the overall volume of the ST Master fader. CAUTION It is acceptable for the LIMITER lamps to flash on briefly at times, but if they remain lit continuously then there is risk of damage to your speakers or to the internal amp. Reduce the ST master fader setting so that these lamps do not stay on. EMX5016CF Owner’s Manual 9 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 ( ). 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. 3 4 5 Set the EFF1 RTN fader to the “0” position. Use the channel EFF1 knobs to adjust the effect depth for each channel. Use the EFF1 RTN fader to adjust the overall effect depth. Note that you can use the PARAMETER knob to adjust the characteristic sound of the selected effect. If you have selected a reverb effect, the knob adjusts the reverb time. 10 EMX5016CF Owner’s Manual CHORUS EARLY REF. GATE REVERB REVERSE GATE C D E F TREMOLO SINGLE DELAY DYNA FILTER PITCH CHANGE 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. For more information about the compressors, see page 18. EMX5016CF Owner’s Manual 11 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. A Place for Everything and Everything in its Place A Plethora of Connectors—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 “phonogram”), 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 linelevel 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 Ring The Versatile Phone Jack The name “phone jack” arose simply because this configuration was first used in telephone switchboards. Phone jacks can be tricky because you 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, balanced mono, or an insert patch point. The connector’s label will usually tell you what type of signal it handles, as will the owner’s manual (you do keep 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. Tip Stereo/TRS phone plug Mono phone plug 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 unbalanced signals with no problem. Microphone cables usually have this type of connector, as do the inputs and outputs of most professional audio gear. 12 EMX5016CF Owner’s Manual Male Female 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. 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 are no more than a meter or two in length, then unbalanced lines are fine—unless you’re surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixer’s high-gain head amplifier. To summarize Microphones: Use balanced lines. Short line-level runs: Unbalanced lines are fine if you’re in a relatively noise-free environment. Long line-level runs: The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best. 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? Balanced noise cancellation Noise Hot (+) Cold (–) Phase inversion Phase inversion Noise cancelled Ground Source Cable Noise-free signal Receiving device Unbalanced noise Noise Source Cable Receiving device EMX5016CF Owner’s Manual 13 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 the basic decibel unit. In the case of dBu, “0 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 0 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 0 dBu Most professional mixers, power amplifiers, and other types of equipment have inputs and outputs with a nominal level of +4 dBu. 0.775 V The inputs and outputs on home-use audio gear usually have a nominal level of –10 dBu. -20 dBu -40 dBu -60 dBu 14 EMX5016CF Owner’s Manual 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 drum beat might produce a level as high as 0 dBu. 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. 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? Example1: 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&B Groove The approach will be totally different if you’re mixing a funky R&B number that centers on the groove. In this case 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 15 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 The fundamental and harmonic frequency ranges of some For example: cymbals have a lot of energy in musical instruments. Cymbal the mid and low frequency ranges that you Piano don’t really perceive as musical sound, but which can interfere with the clarity of other Bass Drum instruments in these ranges. You can basically Snare Drum turn the low EQ on cymbal channels all the Bass way down without changing the way they sound in the mix. You’ll hear the difference, Guitar however, in the way the mix sounds more Trombone “spacious,” and instruments in the lower Trumpet ranges will have better definition. Surprisingly enough, piano also has an incredibly powerful 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) low end that can benefit from a bit of lowfrequency roll-off to let other instruments— Fundamental: The frequency that determines the basic musical pitch. notably drums and bass—do their jobs more Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument. effectively. Naturally you won’t want to do this if the piano is playing solo. 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. “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 16 EMX5016CF Owner’s Manual MID Boost Signal Level (dB) 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 boost can give certain instruments more “air.” Listen, and if things don’t sound clear and 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, increasing noise and potentially overloading the subsequent circuitry. MID Flat LOW Boost HIGH Boost LOW Flat HIGH Flat LOW Cut HIGH Cut MID Cut Frequency (Hz) 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). It’s 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. You need to be careful not to overdo effects, however, because going 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 upper 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. The Modulation Effects: Phasing, Chorus, and Flanging All of these effects work on basically the same principle: a portion of the audio signal is “timeshifted” 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 filter” effect – and this causes the shimmering sound we hear. Phasing is the subtlest 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 otherworldly sonic swoops. EMX5016CF Owner’s Manual 17 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. 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. Compression can be used to make a mix seem bigger and louder by producing a more “saturated” sound. Professional compressors have numerous parameters that need to be carefully adjusted: attack, release, threshold, level, and sometimes 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 (Min) (Max) INPUT The EMX compressor makes achieving great 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 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. 18 EMX5016CF Owner’s Manual 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. Cold (–) 2 Ground Hot (+) INPUT B: 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 CAUTION NOTE T: Hot (+) 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. 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. 2 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 stereo 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 microphone, be sure to turn the PHANTOM switch c to its ON position. CAUTION NOTE 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. If you wish, you may use the channel pair’s LINE and MIC jacks together at the same time. But note that the levels cannot be adjusted independently. EMX5016CF Owner’s Manual 19 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. Channels 9/10 to 15/16 (Stereo) NOTE 3 Connection to an INSERT I/O jack requires a special separately-sold insertion cable—such as the Yamaha YIC025, YIC050, or YIC070—as shown below. To the input jack of the external processor 4 Tip:OUT To the INSERT I/O jack 5 5 6 7 6 Sleeve Sleeve(Ground) (Ground) Ring :IN Tip:OUT Tip:IN To the output jack of the external processor 4 [26 dB] Switch (Channels 1 to 8) 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 ( ). If you have connected a microphone or other mic-level device, set the switch to OFF ( ). 8 5 GAIN Control 20 9 9 0 0 A A B B C D E F C D E F G G EMX5016CF Owner’s Manual Adjusts the gain applied to the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain so that the PEAK indicator D comes on only at about maximum input level. The –60 to –16 scale indicates the MIC input adjustment level. The –34 to 10 scale indicates the LINE input adjustment level. 6 (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.) 7 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 compression may lead to howling. 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. The upper knob sets the center frequency for the mid range, while the lower knob sets the attenuation (counterclockwise) or boost (clockwise) for the range. (Again, setting the lower knob to “ ” 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. Band Type Base Frequency HIGH Shelving 10 kHz MID Peaking 250 Hz to 5 kHz variable (CHs 1 to 8) 2.5 kHz (CHs 9/10 to 15/16) LOW Shelving 100 Hz Maximum Cut/Boost 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. C 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. NOTE To reduce noise, turn off all unused channels. D 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. E SIGNAL Indicator ±15 dB 9 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 “ ” position. Note that you can use the PRE switch 0 to choose whether the pre-fader or post-fader signal is fed into the AUX1/2 buses. On stereo channels, the L (odd) and R (even) input signals are mixed before being sent to the AUX1/2 buses. NOTE trol (Channels 9/10 to 15/16) Lights up when a signal is being input into the channel. F 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. To set the switch on, press it in so that it lights up. NOTE • The PFL (F, M, i) and AFL j switches select the mix to be monitored at the PHONES jack. If the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack. If the PRE switch is on, the channel's fader will not have any effect on the signal sent to the AUX1/2 buses. 0 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. G Channel Fader Adjusts the signal’s output level. Use these faders to adjust the volume balance among the various channels. NOTE A EFF1/2 Knobs • 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. To reduce noise, set the fader sliders for unused channels all the way down. Each knob adjust the level of the signal sent from the channel to the EFFECT1/2 bus. If input is from a stereo channel pair (9/10 to 15/16), the signals from the L and R channels are mixed 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 H. NOTE The level into the EFFECT1/2 buses is affected by the setting of the channel’s fader G. EMX5016CF Owner’s Manual 21 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. H CAUTION If you are returning a signal from an external effector into a LINE jack on any channel pair 9/10 to 15/16, please be sure to turn the EFF1/2 knob for that channel pair to “0”. • 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 effector or to a cue box or other such monitoring system. I 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. J PARAMETER Knobs Each knob adjust the parameter (depth, speed, etc.) associated with the selected effect type. NOTE I I J K AUX1/2 Knobs J K K L M L M Each knob adjusts the level of the effected sound into the corresponding AUX1 and AUX2 buses. L EFF1/2 ON Switches/Indicators 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 N 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 previously used with that type (regardless of the current position of the PARAMETER knob). N The On/Off status of the internal effects will be retained, even when you turn off the mixer's power. M 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. NOTE • The signal will not feed into the PFL bus if the effect’s ON switch is turned off. • The PFL (F, M, i) and AFL j switches select the mix to be monitored at the PHONES jack. If the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack. N EFF1/2 RTN Faders Adjusts the level of the effected sound into the Stereo bus. 22 EMX5016CF Owner’s Manual 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. The jacks output the stereo signal pre adjustment by the ST master fader l and graphic equalizer W. As the signal is not adjusted by these controls, please be sure to make appropriate level adjustments at the external recording device side. Q EFF1/2 ON/OFF Jacks These phone input jacks are for connection to a separately sold FC5 foot switch. The foot switch can be used as an alternative to the ON switch to toggle the effector on and off. R ST OUT Jacks These unbalanced phone jacks output the mixed stereo signal (L and R), where the level is adjusted by the ST master fader l. You would typically connect these jacks to a power amp or powered speakers. S PHONES Jack Connector for headphones. This is a balanced stereo phone-type output jack. T LAMP Jack This XLR 3 pin-type output jack is for connection to an optional lamp. NOTE 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. U GEQ (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 R, ST SUB OUT jacks O, and SPEAKERS jacks m. V GEQ +/– 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: 0dB, ±1.5dB, ±3dB, ±4.5dB, ±6dB, ±9dB and ±12dB. For intermediate values 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.) W GEQ ON Switch This switch toggles the graphic equalizer on or off. The switch is illuminated when on. EMX5016CF Owner’s Manual 23 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. 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. • 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 MEASURE/CORRECT switch again. Y VOCAL, DANCE, SPEECH Switches Pressing either of these switches recalls the preset GEQ settings. The GEQ display U indicates the settings, and the switch indicator lights up. If you change the GEQ settings after recall, the switch indicator turns off. To restore the preset settings, press the switch again. Z USER 1, USER 2, USER 3 Switches These switches are used to store the GEQ settings in each memory area and recall them. • Storing Press and hold the USER switch for two seconds or longer until the switch indicator flashes. • Recalling the stored settings Press the USER switch to be recalled. The settings are recalled and indicated on the GEQ display U, 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. X 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 automatically. The MEASURE mode measures the frequency 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. 24 EMX5016CF Owner’s Manual NOTE 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. 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. If howling is found, the corresponding notch filter is created automatically. Pressing the AUTO ON switch again turns off Feedback Suppressor (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. NOTE A notch filter created by AUTO mode will be reduced by 3 dB a minute after the filter has been created. • 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 performance; however, this mode is handy to set up precautionary notch filters beforehand by intentionally raising the levels and finding the howling points. NOTE • If a notch filter is created by pressing the MANUAL 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 MANUAL ON switch cannot turn on Feedback Suppressor. 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. ] LIMITER Indicators The lamp lights up when the amplified signal output at the SPEAKERS jacks hits its maximum value. CAUTION The lamp indicates that the limiter has come on. If the lamps are flashing frequently, the load on the amp is too high and there is risk of damage to your equipment. Reduce the setting of the ST master fader l or the AUX1 or AUX2 fader f 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 capacity of your speakers. 500W: Maximum 500W + 500W/4 ohms. 200W: Maximum 200W + 200W/4 ohms. 75W: Maximum 75W + 75W/4 ohms a POWER AMP Switch Selects the output that gets sent to the SPEAKERS jacks, as follows. L/R: SPEAKERS jacks A1 and A2 output the signal from the Stereo L bus, while jacks B1 and B2 output the signal from the Stereo R bus. The overall volume is adjusted by the ST master fader. AUX1/MONO: SPEAKERS jacks A1 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 A1 and A2 output the signal from the AUX 1 bus, while jacks B1 and B2 output the signal from the AUX2 bus. Volumes can be adjusted using the AUX1 and AUX2 faders, respectively. b 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 subwoofers. Note however that the resulting frequency balance may vary according to the speakers you are using. \ 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. NOTE Turning on the power while holding the GEQ ON switch W and MAXIMIZE ON switch \ restores the initial factory settings for GEQ, Effects, Feedback Suppressor, and MAXIMIZE. EMX5016CF Owner’s Manual 25 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. 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 recommend 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. d LEVEL Meters c d If the ST/AFL-PFL switch e is set to ST, these meters show the L and R levels of the signal output from the ST OUT jacks R. If the ST/AFL-PFL switch is set to AFL-PFL, the meters show the levels output from the PHONES jack S. NOTE e f g h i j Note that the signal output to the ST OUT jacks is also passed through the internal amplifier and then output at the SPEAKERS jacks m. Keep an eye on the LIMITER lamps ] to ensure that the level at the SPEAKERS jacks does not stay too high. e ST/AFL-PFL Switch If the switch is set to AFL-PFL ( ), 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 ( ), the meters show the level output at the ST OUT jacks following adjustment by the ST master fader. NOTE The PFL (F, M, i) and AFL j switches select the mix to be monitored at the PHONES jack. f PHONES Control k l Controls the level of the signal output to the PHONES jack. g ST SUB OUT Control Adjusts the signal level to the ST SUB OUT jacks. NOTE Has no effect on the output from the ST OUT and SPEAKERS jacks. h STANDBY Switch c 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. 26 EMX5016CF Owner’s Manual 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 mute does not work on channels 9/10 to 15/16. NOTE 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. 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. • The PFL (F, M, i) and AFL j switches select the mix to be monitored at the PHONES jack. If the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the PHONES jack. j 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. NOTE • The signal levels into the AFL bus are not affected by the settings of the ST master fader or the AUX1/2 fader settings. • The PFL (F, M, i) and AFL j switches select the mix to be monitored at the PHONES jack. If the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the PHONES jack. k AUX1 and AUX2 Faders The AUX1 fader adjusts the level of the output from the SPEAKERS A jacks m or the SEND AUX1 jack H. The AUX2 fader adjusts the level of the output from the SPEAKERS B jacks m or the SEND AUX2 jack H. l ST Master Fader Adjusts the level to the SPEAKERS jacks m or ST OUT jacks R. NOTE • Does not affect the level of the output from the ST SUB OUT jacks. • The signal to the SPEAKERS jacks is determined by the setting of the POWER AMP switch a. EMX5016CF Owner’s Manual 27 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. Before turning the power ON or OFF, be sure to turn both the ST master fader and the AUX1 and AUX2 faders are all the way down. CAUTION p Ground Screw 1- 1+ Neutrik Plug A1 and B1 Connectors 1+ + 1– – 2+ 2+ 2- 2– A2, B2: Phone output jacks. n POWER Switch This switch turns the EMX power ON and OFF. CAUTION 28 Before turning the power ON or OFF, be sure to turn both the ST master fader and the AUX1 and AUX2 faders are all the way down. EMX5016CF Owner’s Manual 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 eliminate hum noise and interference. 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. 2-channel connection When connecting by 2-channel connection, use speakers with impedance of 4 ohms to 8 ohms. 4Ω – 8Ω 4Ω – 8Ω 2-channel parallel connection When connecting speakers in parallel as shown below, use speakers with impedance of 8 ohms to 16 ohms. 8Ω – 16Ω 8Ω – 16Ω 8Ω – 16Ω 8Ω – 16Ω EMX5016CF Owner’s Manual 29 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. Noise Generator 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 of the room. STEREO L R FRC Noise Measurement ST OUT L R [Block Diagram of Noise Measurement] 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. 2 Set up channel 1 as follows, and lower the ST Master fader all the way down. Controls [26dB] switch GAIN control switch COMP knob HIGH MID F MID LOW AUX1 knob AUX2 knob EFF1 knob EFF2 knob PAN control ON switch Channel fader Settings Proper level* Proper level* Off 0 0dB — 0dB 0dB — — — — Center On –∞ (→ 0dB)* 5 6 30 Press and hold the MEASURE/CORRECT switch for two to three seconds. The indicator begins flashing quickly, and measurement of the frequency characteristics 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 control so that the LEVEL meter 0 flashes occasionally. Finally set the channel fader to the 0dB position. EMX5016CF Owner’s Manual 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 measurement, press the MEASURE/CORRECT switch again. 7 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. • Make sure that all faders other than channel 1 are set to their minimum and that no other signals are input. • Set the POWER AMP switch to L/R. 3 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. NOTE * Adjust these settings in step 4. NOTE The measurement result is updated on the GEQ display every five seconds after measurement starts. NOTE 9 To prevent clipping at the power amp stage by excessive 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 immediately after measurement, press the FRC MEASURE/CORRECT switch again. The indicator lights up. necessary, store the GEQ settings to a USER 10 Ifswitch. 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. 2 Set up channels 1 and 15/16 as follows, and lower the ST Master fader all the way down. Controls Settings Proper level* Proper level* Off 0 0dB — 0dB 0dB — — 0 Nominal “ ” position Center On –∞ (→ 0dB)* Settings Proper level* Off HIGH MID LOW AUX1 knob AUX2 knob EFF1 knob EFF2 knob PAN control ON switch Channel fader 0dB 0dB 0dB — — Nominal “ ” position 0 Center On –∞ (→ 0dB)* * Adjust these settings in step 4. NOTE 3 • Make sure that all faders other than channels 1 and 15/16 are set to their minimum and that no other signals are input. • Set the POWER AMP switch to L/R. Press and hold the MEASURE/CORRECT switch for three seconds or longer. The indicator begins flashing slowly, and measurement of the frequency characteristics starts. FRC Music Playback Measurement ST OUT L R [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 occasionally, set the channel faders to the 0dB position, and then adjust the ST Master fader. To adjust the channel 1 input level, turn on the PFL switch, adjust the [26dB] switch and GAIN control so that the LEVEL meter 0 flashes occasionally, and set the channel faders to the 0dB position. 5 6 The measurement result is updated on the GEQ display every five seconds after measurement starts. 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. NOTE 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 measurement, press the MEASURE/CORRECT switch again. 7 Turn off the channels 1 and 15/16 ON switches 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. ● Channels 15/16 Controls GAIN control switch EFFECT2 4 ● Channel 1 [26dB] switch GAIN control switch COMP knob HIGH MID F MID LOW AUX1 knob AUX2 knob EFF1 knob EFF2 knob PAN control ON switch Channel fader EFFECT1 NOTE 9 To prevent clipping at the power amp stage by excessive 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. necessary, store the GEQ settings to a USER 10 Ifswitch. EMX5016CF Owner’s Manual 31 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. 2 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 removed 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 32 EMX5016CF Owner’s Manual 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 4 CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 BYPASS INSERTION SYSTEM PRE 2 PRE 3 PRE 4 MODE EFFECT ÊARP FX MASTER EFFECT VOICE PERFORM SLOT 1 DRUM KITS MASTER PRE 5 PRE 6 USER 1 USER 2 GM PLG 1 GUITAR/ PLUCKED BASS STRINGS SLOT 2 SLOT 3 PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK EQ FAVORITES A. PIANO KEYBOARD ORGAN SEQUENCER SONG PATTERN INTEGRATED SAMPLING MIXING EDIT JOB A FILE SEQ TRANSPORT DEC/NO INC / YES SYN LEAD DEMO UTILITY 1 SCENE SF2 SF1 LOCATE 1 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 D E DRUM/ CHROMATIC PERCUSSION PERCUSSION 3 F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 ELEMENT/PERF. PART/ZONE COMMON COMPARE Guitar Guitar OCTAVE DOWN STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 NUMBER SOLO UP MASTER VOLUME 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 get it by connecting a power amp to the ST OUT, ST SUB OUT, or AUX 1/2 jacks, and then connecting speakers to the power amp. Recorder Monitor Speakers Foot Switch (YAMAHA FC5) CD Player Lamp DI Bass Effect processor (delay) Microphones Headphones Microphones Power Amp Effect processor (exciter) Drums Subwoofer Rear Panel Power Amp Speakers EMX Installation Exhaust At least 30 cm Intake CAUTION Vents are located on the front and rear of the EMX unit. Position the unit so that the vents are not blocked by nearby walls or objects. EMX5016CF Owner’s Manual 33 emx5016CF_e_05.fm Page 34 Thursday, January 26, 2012 6:37 PM 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. If the unit overheats, it may cut off the output to the internal amp until things cool down. ■ No sound. ❑ Are microphones, external devices, and speakers connected correctly? ❑ Are the GAIN controls, channel faders, ST master fader, and AUX1/2 faders set to appropriate levels? ❑ Is the POWER AMP switch set correctly? When outputting a stereo signal, set it to the L/R position. ❑ Check that the speaker cables are not shorted. ❑ 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- ❑ Are the GAIN controls, channel faders, ST master fader, and AUX1/2 faders set to appropriate levels? ❑ Check that the [26 dB] switches on channels 1 to 8 are set correctly. ❑ 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.) ❑ Is the input signal from the connected device set to an appropriate level? ❑ You may be applying excessive digital effect. Check your effect settings. torted, or noisy. ■ No effect is applied. ❑ Check that the EFF1/2 knob on each channel is correctly adjusted. ❑ Be sure that the internal effector’s ON switch is turned on. ❑ Check that the EFF1/2 RTN fader is correctly adjusted. ■ The sound from the ❑ ❑ ❑ ❑ speakers seems dull. I want a more forceful sound. ■ I want spoken words to be heard more clearly. ■ I want to output a monitor signal through speakers. ■ I want to initialize the GEQ and digital effect settings. 34 ❑ 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. EMX5016CF Owner’s Manual Try turning on the YS Processing switch. Try turning on the MAXIMIZE ON switch. Adjust the equalizers (HIGH, MID, and LOW knobs) on each channel. Adjust the graphic equalizers. ❑ Check that the switches (high pass filters) for the relevant channels are turned ON as appropriate. ❑ Be sure that the YS Processing switch is turned off. ❑ Adjusting the equalizers (HIGH, MID, and LOW knobs) on each channel. ❑ Adjusting the graphic equalizers. ❑ Connect a powered speaker to the AUX1/2 jacks. Then adjust the AUX1/2 signal by adjusting the channel AUX1/2 controls and the AUX1 and AUX2 faders. ❑ 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.) ❑ Turning on the power while holding the GEQ ON switch and MAXIMIZE ON switch restores the initial factory settings for GEQ, Effects, Feedback Suppressor, and MAXIMIZE. Reference Specifications ■ General Specifications * All level controls are nominal, when measured. Output impedance of signal generator: 150Ω RL=4Ω Maximum Output Power (SPEAKERS) Total Harmonic Distortion (THD+N)@20Hz-20kHz RL=8Ω ST, ST SUB, AUX, EFFECT REC ST, ST SUB, AUX, EFFECT Frequency Response SPEAKERS EIN=Equivalent Input Noise Residual Output Noise CH1-8 MIC SPEAKERS ST, ST SUB, AUX Crosstalk @ 1kHz Maximum Voltage Gain @1kHz Phantom Voltage Channel Equalizer Maximum Variation: ±15dB Turn over/roll-off frequency of shelving is 3dB below maximum level. CH 1-15/16 XLR HIGH MID (MONO) MID (ST) LOW Compressor (COMP) CH1-8 PEAK Indicator SIGNAL Indicator STANDBY Switch Level Meter ST, PFL/AFL Digital Graphic Equalizer ST OUT Frequency Response Correction (FRC) System Feedback Suppressor (FBS) MAXIMIZE Digital Effect Lamp Maximum Output Power Select Switch Power Amplifier Signal Select Switch Yamaha Speaker Processing Power Amplifier Protection Power Supply Protection Cooling Power Consumption AC Cord Dimensions Net Weight SPEAKERS Conditions Both channels drive, 1 kHz, THD+N < = 0.5% Rated power supplies: 120V, 230V and 240V +14dBu output into 600Ω 0dBV output into 10kΩ 20Hz-20kHz, 1kHz output level, GAIN at minimum level, PAD=Off, +4dBu, RL=8Ω, 1W GAIN at maximum level, 20Hz-20kHz MIN 500 350 (US, AU) 320 (EU) TYP MAX Unit W –3.0 0.0 0.3 0.5 1.0 –3.0 0.0 1.0 –128 –68 –95 –68 –68 % dB dBu dBu Adjacent inputs dB Input to output MIC to SPEAKERS 109 MIC to ST OUT 84 MIC to ST SUB OUT 80 MIC to AUX SEND (PRE) 80 dB MIC to AUX SEND (POST) 90 MIC to EFFECT SEND 80 MIC to REC OUT 62.2 CH 9/10-15/16 LINE to ST OUT 58 No load 48 V DC 10kHz (Shelving) 250Hz-5kHz (Peaking) 2.5kHz (Peaking) 100Hz (Shelving) On each channel 1-8: One control adjusts the Gain, Threshold, and Ratio simultaneously. On each channel: Indicator lights if post-EQ signal comes within 3dB of the clipping level. On each channel: Indicator lights if post-EQ signal reaches –10dB. CH1-8 mute Two 12-points LED level meter (PEAK, +5, +3, +1, 0, –1, –3, –5, –7, –10, –15, –20 dB) PEAK lights if the signal comes within 3 dB of the clipping level. 9-band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz), ±12 dB (maximum variation) Preset × 3, User preset × 3 Pink noise/Music playback measurement mode AUTO/MANUAL mode 3-band compressor on/off 2 effect processors, 16 programs each, PARAMETER control each Foot switches (effects on/off) XLR-3-31 type, 12 V DC between pins 2 and 3, 5 W max. 500W+500W, 200W+200W, 75W+75W L/R, AUX1/MONO, AUX1/AUX2 Speaker EQ on/off POWER switch on/off mute DC-fault: power supply shutdown/manual reset Thermal/heatsink temp > = 90°C: output mute/auto reset Vl limiter/RL < = 2Ω Clip limiter/THD > = 1%: compression, Indicator × 2 Thermal/heatsink temp > = 100°C: power supply shutdown/manual reset Dual variable-speed fan 500 W Length 2500 mm Height 155 Depth 493 mm Width 444 11 kg EMX5016CF Owner’s Manual 35 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 (1.55 mV) –10 dBu (245 mV) –80 dBu (0.078 mV) –36 dBu (12.3 mV) –54 dBu (1.55 mV) –10 dBu (245 mV) –80 dBu (0.078 mV) Input level Nominal –60 dBu (0.775 mV) –16 dBu (123 mV) –34 dBu (15.5 mV) +10 dBu (2.45 V) –60 dBu (0.775 mV) –16 dBu (123 mV) –34 dBu (15.5 mV) +10 dBu (2.45 V) –60 dBu (0.775 mV) –36 dBu (12.3 mV) –54 dBu (1.55 mV) –10 dBu (245 mV) –20 dBu (77.5 mV) –16 dBu (123 mV) –34 dBu (15.5 mV) +10 dBu (2.45 V) 0 dBu (0.775 V) Max. before clip –40 dBu (7.75 mV) +4 dBu (1.23 V) –14 dBu (155 mV) +30 dBu (24.5 V) –40 dBu (7.75 V) +4 dBu (1.23 V) –14 dBu (155 mV) +30 dBu (24.5 V) –40 dBu (7.75 mV) –10 dBu (245 mV) –14 dBu (155 mV) +30 dBu (24.5 V) +20 dBu (7.75 V) Connector XLR-3-31 type *3 Phone jack *4 XLR-3-31 type *3 Phone jack *5 RCA Pin jack *5 Phone jack *5 *1 0dBu 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. ■ Output Characteristics For Use With Nominal Nominal Max. before clip ST OUT [L, R] 150 Ω 600 Ω Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2 ST SUB OUT [L, R] 150 Ω 600 Ω Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2 AUX SEND 1, 2 150 Ω 600 Ω Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2 EFF SEND 1, 2 150 Ω 600 Ω Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack *2 CH INSERT OUT 1-8 600 Ω 10 kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V) Phone jack *2 REC OUT [L, R] 600 Ω 10 kΩ Lines –10 dBV (316 mV) +10 dBV (3.16 V) RCA pin jack PHONES [L, R] 100 Ω 40 Ω Lines 3 mW 75 mW Phone jack (TRS) SPEAKERS 0.1 Ω 4 Ω Speakers 125 W 500 W SPEAKON Phone jack *2 *1 0dBu is referenced to 0.775Vrms. 0dBV is referenced to 1Vrms. *2 Phone jacks are unbalanced. 36 Output level Actual Source Impedance Output Terminals EMX5016CF Owner’s Manual Connector 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 10.0 12 13 14 15 16 REVERSE GATE TREMOLO SINGLE DELAY DYNA FILTER PITCH CHANGE Room Size LFO Delay Sensitivity Pitch 0.1 to 10.0 0 to 39.7 Hz 0 to 743.0 ms 0 to 127 –12 to +12 Program HALL 2 ROOM 2 Parameter Reverb Time Reverb Time Range 0.3 to 10.0 s 0.3 to 3.2 s 3 PLATE 2 Reverb Time 0.3 to 10.0 s 4 5 6 7 8 9 10 11 12 LARGE STAGE 2 SMALL STAGE 2 VOCAL ECHO KARAOKE DELAY CHORUS PHASER FLANGER SYMPHONIC Reverb Time Reverb Time Delay Delay Delay LFO Freq LFO Freq LFO Freq LFO Depth 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 0 to 8.08 Hz 0 to 8.08 Hz 0 to 127 13 DOUBLER Pitch Fine 0 to 50 cent 14 15 AUTO WAH DISTORTION LFO Freq Drive 0 to 8.41 Hz 0 to 63 16 RADIO VOICE Cutoff Offset Descriptions Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Simulation of a metal-plate reverb unit, producing a more hard-edged reverberation. Reverb simulating a large stage. Reverb simulating a small stage. Echo designed for conventional vocals. Echo designed for karaoke (sing-along) applications. Feedback delay adding multiple delayed signals. Creates a thicker sound by modulating the delay time. An effect which isolates only the early reflection components from reverberation, creating a ‘flashier’ effect than conventional reverb. An effect which abruptly cuts the tail-end of the reverberation, making a more powerful sound. A reverse-playback type early reflection. An effect which cyclically modulates the volume. Monaural delay adding a delayed signal. An effect which applies a low pass filter. An effect which changes the pitch of the signal. ● EFFECT 2 No. 1 2 0 to 63 Descriptions Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Simulation of a metal-plate reverb unit, producing a more hard-edged reverberation. Reverb simulating a large stage. Reverb simulating a small stage. Echo designed for conventional vocals. Echo designed for karaoke (sing-along) applications. Feedback delay adding multiple delayed signals. Creates a thicker sound by modulating the delay time. Cyclically changes the phase to add modulation to the sound. Adds a feeling of pitched sound. Multiplies the sound for thicker texture. Creates the effect of two voices or two instruments singing or playing the same phrase. A wah-wah effect in which the the frequency is modulated by LFO. Adds a sharp-edged distortion to the sound. Recreates the lo-fi sound of an AM radio. The parameter adjusts the frequency band to be emphasized. EMX5016CF Owner’s Manual 37 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. [-34dBu] Clip Level ST CH MIC [-16dBu] ST CH LINE GAIN Min. [+10dBu] Clip Level YE YE ST CH IN [-10dBu] EFF 2 ON PARAMETER PROGRAM EFFECT 2 EFF 1 ON PARAMETER PROGRAM EFFECT 1 3-Stage EQ PEAK SIGNAL GR RE [0dBu] YE ON BA EFF1 OUT R D/A D/A BA BA BA BA [-6dBu] [-6dBu] [-6dBu] CH & ST CH to AUX/EFFECT [-6dBu] CH & ST CH to ST [0dBu] (PAN,BAL hard left/right) [-6dBu] PFL [-6dBu] AUX2 [-10dBu] [-6dBu] [-6dBu] [-10dBu] EFF 2 AUX1 EFF 2RTN PFL AUX2 AUX1 CH fader [-10dBu] EFF2 OUT R EFF2 OUT L EFF IN 1 A/D EFF IN 2 A/D D/A D/A PFL 2 EFF 1 PRE AUX [-6dBu] PAN/BAL PRE AUX 1 [0dBu] PFL EFFE 1RTN [0dBu] EFF1 OUT L BA (ST CH Fader) [-10dBu] INSERT I/O [0dBu] Clip Level YE [-6dBu] [-6dBu] [-6dBu] EFF 1 EFF 2 SUM SUM SUM SUM SUM SUM SUM SUM AFL PFL SUM SUM SUM SUM [0dBu] [0dBu] [0dBu] [0dBu] AFL [0dBu] [0dBu] AFL [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] SUM SUM SUM SUM SUM SUM SUM SUM [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] A/D A/D PHONES [-16dBu] AUX1 [-10dBu] AUX1 [-10dBu] ST R Multi Band Comp. ST L INV INV BA BA BA BA FBS DSP ST OUT L D/A ST OUT R GEQ + FRC D/A BA BA BA INV [+4dBu] R MONO AUX2 L AUX1 AUX1 [12V] LAMP DR DR ST AFL/PFL ST AFL/PFL REC OUT [-10dBV] ON YE 75W 200W 500W 75W INV PA PA SPEAKERS (+29.2dBu) [125W/4ohms] R MONO AUX2 L AUX1 AUX1 -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu +40dBu 1 2 1 2 [500WMAX @ 4ohms] (+35.2dBu) SPEAKER OUT MAXIMUM OUTPUT POWER [500W/4ohms] LIMITER RE LIMITER LIMITER RE LIMITER [PHONES 3mW@40ohms] Clip Level (LED METER) YSP PHONES [-16dBu] ST OUT, ST SUB OUT [+4dBu] AUX SEND, EFFECT SEND [+4dBu] YSP 200W 500W POWER AMP ON YS PROCESSING [3mW 40ohms] PHONES [+4dBu] EFF 2 [+4dBu] EFF 1 [+4dBu] AUX2 [+4dBu] SEND [-10dBV] REC OUT [+4dBu] ST OUT AUX1 R L R L R L/MONO ST SUB OUT (METER SELECT) SUM Clip Level [-6dBu] ST, AUX fader [-10dBu] ST SUB level control ST [-10dBu] BA ST SUB OUT [-6dBu] -70dBu -60dBu CH INPUT (PAD OFF) GAIN Max. [-60dBu] ST CH MIC [-60dBu] -70dBu -60dBu -50dBu HA 3-Stage EQ [0dBu] [-6dBu] PRE AUX2 PAN PRE AUX1 ON [0dBu] COMP (TH) BA 3-Stage EQ COMP RE STAND-BY -40dBu INV [0dBu] 80 80 PEAK SIGNAL GR (CH Fader) [-10dBu] RE ST L(NON-MUTE) ST R(NON-MUTE) AUX 1(NON-MUTE) AUX 2(NON-MUTE) EFFECT1(NON-MUTE) EFFECT2(NON-MUTE) -50dBu CH INPUT (PAD ON) GAIN Max. [-34dBu] CH INPUT (PAD OFF) GAIN Min. [-16dBu] CH INPUT (PAD ON) GAIN Min. [+10dBu] INV HPF [0dBu] GAIN [-34dBu to +10dBu] HA +48V GAIN [-60dBu to -16dBu] [-34dBu to +10dBu] HA [-30dBu to +14dBu] 26dB PAD RE PFL L/AFL L PFL R/AFL R -40dBu -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu +40dBu 0dBu=0.775V 0dBV=1V EFF2 ON/OFF EFF1 ON/OFF CH10R,12R,14R,16R [-34dBu to+10dBu] ST CH LINE CH9L,11L,13L,15L [-34dBu to +10dBu] L [-60dBu to -16dBu] MIC CH9/10,11/12,13/14,15/16 ST CH INPUT [0dBu] INSERT [-34dBu to +10dBu] INPUT B [-60dBu to -16dBu] INPUT A MID PHANTOM HIGH CH1-8 LOW ST L(MUTE) ST R(MUTE) AUX 1(MUTE) AUX 2(MUTE) EFFECT1(MUTE) EFFECT2(MUTE) LOW Mid f MID HIGH CH INPUT B A Reference Specifications Block Diagram and Level Diagram EMX5016CF Owner’s Manual 39 Yamaha Pro Audio global web site http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ C.S.G., Pro Audio Division © 2006-2012 Yamaha Corporation WH17360 202POZC*.*-**D0 Printed in Indonesia
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Yamaha EMX 5016CF Manual de usuario

Categoría
Mezcladores de audio
Tipo
Manual de usuario
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