Yamaha EMX212S DJ mixer
Contents
1. 23 MONITOR Section lt 24 POWER 25 Rear 26 Connecting Speakers 27 Horizontal Orientation Tilting and Rack Mounting 28 Horizontal Orientation 28 Tilting 29 Rack Mounting 29 Setting Up 30 Troubleshooting 31 Specifications 32 Input Channels page 20 The EMX offers four monoaural mic line input channels 1 to 4 and four stereo input channel pairs 5 6 to 11 12 allowing you to freely mix inputs from microphones line level devices and stereo devices For example you can mix four microphones with four stereo devices or seven microphones with one stereo synthesizer Phantom Power 15V page 25 A single switch turns phantom power on to all mic inputs Use this feature to provide power to condenser microphones High Quality Digital Effects page 22 The mixer s internal effector 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 EFFECT OUT jack to connect to an external effector of your choice MAIN and MONITOR Outputs page 23 The mixer offers excellent independent control of main and monitor outpu2. POWER AMP switch Selects the output that gets sent to the SPEAKERS jacks as follows Up MAIN L R SPEAKERS jacks Al and A2 output the signal from the MAIN 1 bus and SPEAKERS jack and B2 output the signal from the MAIN R bus The MAIN section s MASTER knob adjusts the output level at all of the SPEAKERS jacks Down MAIN L R MON SPEAKERS jacks Al and A2 output a mix of the signals from the MAIN L and MAIN R buses SPEAKERS jacks and B2 output the signal from the MONITOR bus The MAIN section s MASTER knob adjusts the level to the A jacks while the MONITOR section s MASTER knob adjusts the level to the B jacks 9 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 lack of subwoofers Note however that the resulting frequency balance will vary according to the speakers you are using STAND BY 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 channels 9 to 12 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 to 12 POWER switch and lamp This switch turns the EMX power ON and OFF The lamp lights up to indicate that the power
3. ngpoz 90007 00619551 Uo e 49804 1ndjng ONOW 1 31 unu xeg di oz g a c j Er 030 8 15 wns N 03 93015 0 7 s m inue dede Al A A 6 BM 110 NIVM e ei mi zie S mi T fmi gp WAS NI 1 1 RI RI YO INOW cH Eo ENDE o ONOW 1 030 15 013 H 193333 aoe dvd ngpoz 0g olo of EHE NES A INdNI HO A 3 ollo rape 2 uti eene A T nosci o3 napos 09 100 8110 2681600 dE 8 INNI TEE 48 01015 5 100 934 191 001006 L ngpg Q Block Diagram and Level Diagram For details of products please contact your nearest Yamaha representative or the authorized distributor listed below Pour plus de d tails sur les produits veuillez vous adresser Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante NORTH AMERICA CANADA Yamaha Canada Music Ltd 135 Milner Avenue Scarborough Ontario MIS 3131 Canada Tel 416 298 1311 U S A Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park Calif 90620 U S A Tel 714 522 9011 CENTRAL amp SOUTH AMERICA MEXICO Yamaha de M xico S A de Calz Javier Rojo G mez 1149 Col Guadalupe del Moral C P 09300 M xico D F M xico Tel 55 5804 0600 BRAZIL Yamaha Musical do Brasil Ltda Rua Joaquim Flor
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5. Se ee 05 XX 5 XS ox 5 5 ae OO XX S 655 x 9 S 0 0 0 0 0 0 9 0 0 004 Speakers CD Cassette or ie Sel SSF A c RF CD Player ae ccce Power Amp POWER INPUT INPUT 5 um ON OFF LZ QNA REC OUT MONITOR OUT MAIN OUT G3 9 5 G EZ L MONO 9 SW EFFECT NAE SEE REAR PANEL CAUTION gt Foot Switch YAMAHA FC5 Microphones YAMAHA i OE GES ox E gt Otte ea Q c Rear Panel EMX Installation al 1 Intake SPEAKERS Exhaust At least bc 10 At least 25cm Vents are located on the sides and rear of the EMX unit Position the unit so that the vents are not blocked by nearby walls or objects EMX512SC EMX312SC EMX212S Troubleshooting Troubleshooting Power doesn t come Be sure that you are using the supplied power cord and that it is correctly Power suddenly went off Sound suddenly stopped Sound is faint distorted
6. YAMAHA e o A T l i Wn BR POWERED MIXER Owner s Manual Quick Guide Pages 6 to 12 Making the Most of Your Mixer Pages 13 to 19 EN p CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL The above warning is located on the rear of the unit Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the product IMPORTANT SAFETY INSTRUCTIONS Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifi
7. 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 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 The Sturdy XLR Pm Female 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 EMX512SC EMX312SC EMX212S BASIC hh Making the Most of Your Mixer 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 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 l
8. Clip 2 MIC 60 dBu 35 dBu 15 dBu 0 775 mV 13 8 mV 138 mV XLR 2 62 50 600 Mics XLR 3 31 type LINE 30 dBu 5 dBu 15 dBu 24 5 mV 436 mV 4 36 V CH INPUT 1 4 MIC 50 dBu 25 dBu 5 dBu 2 45 mV 43 6 mV 436 mV Phone 6 kQ 600 02 Lines Phone Jack 4 LINE 20 dBu 5 dBu 25 dBu 77 5 mV 1 38 V 13 8 V we m e mente gsm 889 1 0 080 is referenced to 0 775 Vrms 2 Sensitivity is the lowest level that will produce an output of 4 dB 1 23 V or the nominal output level when the unit is set to maximum level All level controls are at maximum position 8 XLR 3 31 type connectors are balanced 1 GND 2 HOT 32COLD 4 Phone Jacks are balanced Tipe HOT Ring COLD Sleeve GND 5 Phone Jacks are unbalanced Output Characteristics Actual Source For Use with Output Level Output Terminals Connector EMX512SC 125 W 500 W A1 A2 1 B2 0 1 Q 4 Q Speakers EMX312SC 75 W 300 W 2 2 Phone Jack WANOUTILR 600 200BU7 76V Phone da2 rerrecrour 6000 10kaLines 48u 1 29 20 dBu 775V Phone Jaka WONTOROUT 6000 4d8u 1 29 20 dBu 775V Phone Jack 1 0 030 is referenced to 0 775 Vrms 0 dBV is referenced to 1 Vrms 2 Phone Jacks are unbalanced Specifications and descriptions in this owner s manual are for information purposes on
9. EARTHED IMPORTANT The wires in this mains lead are coloured in accordance with the following code GREEN AND YELLOW BLUE EARTH NEUTRAL BROWN LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the termi nals in your plug proceed as follows The wire 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 8 wires FCC INFORMATION U S A IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions con tained in this manual meets FCC requirements Modifications not expressly approved by Yamaha may void your authority granted by the FCC to use the product IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorization to use this product in the USA N
10. Music Europe GmbH Siemensstrabe 22 34 25462 Rellingen Germany Tel 04101 3030 OTHER COUNTRIES Yamaha Music Gulf FZE LOB 16 513 17328 Jubel Ali Dubai United Arab Emirates Tel 971 4 881 5868 ASIA THE PEOPLE S REPUBLIC OF CHINA Yamaha Music amp Electronics China Co Ltd 2F Yunhedasha 1818 Xinzha lu Jingan qu Shanghai China Tel 021 6247 2211 INDIA Yamaha Music India Pvt Ltd SF Ambience Corporate Tower Ambience Mall Complex Ambience Island NH 8 Gurgaon 122001 Haryana India Tel 0124 466 5551 INDONESIA PT Yamaha Music Indonesia Distributor PT Nusantik Gedung Yamaha Music Center Jalan Jend Gatot Subroto Kav 4 Jakarta 12930 Indonesia Tel 21 520 2577 KOREA Yamaha Music Korea Ltd SF Dongsung Bldg 158 9 Samsung Dong Kangnam Gu Seoul Korea Tel 080 004 0022 MALAYSIA Yamaha Music Malaysia Sdn Bhd Lot 8 Jalan Perbandaran 47301 Kelana Jaya Petaling Jaya Selangor Malaysia Tel 3 78030900 SINGAPORE Yamaha Music Asia Pte Ltd 03 11 A Z Building 140 Paya Lebor Road Singapore 409015 Tel 747 4374 TAIWAN Yamaha KHS Music Co Ltd 3F 6 Sec 2 Nan Jing E Rd Taipei Taiwan 104 R O C Tel 02 2511 8688 THAILAND Siam Music Yamaha Co Ltd 4 6 15 and 16 floor Siam Motors Building 891 1 Rama 1 Road Wangmai Pathumwan Bangkok 10330 Thailand Tel 02 215 2626 OTHER ASIAN COUNTRIES Yamaha Corporation Asia Pacific Music Marketing Group
11. Output ETIN UNIT Frequency Response CH INPUT 1 11 12 EFFECT OUT REC OUT Hz 20 kHz 0 dB SPEAKERS OUT 3 0 Maximum Voltage CH 1 4 INPUT B 1500 1 4 Gain 1 kHz MIC LINE MIC tel Input level 60 dBu wane CH1 4 MIC LINE MIC 20 40 Input level 60 dBu MoNTOROUT EIE CH1 4 MIC LINE MIC 20 40 dBu Input level 60 dBu 40 CH1 4 MIC LINE MIC Input level 60 dBu NO Input level 50 dBu CH 1 4 INPUT B H 5 6 11 12 MI E EFFECT Gain Error 1 kHz OUT It measures in each CH unit CH1 4INPUTA MAIN OUT LNE 00000 Input level 20 dBu 20 40 dBu Phone on Manou e e a MAIN OUT MONITOR OUT 14 dBu 20H tion 7 SP u 2 It measures each CH INPUT 1 11 12 OUT REC OUT 10 KO 1 kHz 20 kHz 0 5 THD N CH 1 4 eee EIN Rs 150 1 4 Hum amp Noise 5 6 11 12 Mic MAIN 09 MIC LINE MIC 20 Hz 20 kHz measures an CH unit MAIN OUT MONITOR OUT Output Noise dBu EIN Equivalent Input Noise CH INPUT 1 11 12 EFFECT OUT 4 MAIN OUT L 10 m Residual Output Noise control at 20 Hz 20 kHz MONITOROUT Our minimum REEARERSQUT OUT 1 tpt tions MIN UNI It ae CH unit CH1 4 Input to Output LEVEL REIN ppm minimum 65 MAX
12. 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 e Do not place the device in an unstable position where it might accidentally fall over e o not block the vents This device has ventilation holes at the rear and side to prevent the internal temperature from becoming too high In particular do not place the device on its side or upside down Inadequate ventilation can result in overheating possibly causing damage to the device s or even fire e 00 not use the device in the vicinity of a TV radio stereo equipment mobile phone or other electric devices Doing so may result in noise both in the device itself and in the TV or radio next to it e Before connecting the device to other devices turn off the power for all devices Before turning the power on or off for all devices set all volume levels to minimum e Use only speaker cables for connecting speakers to the speaker jacks Use of other types of cables may result in fire Handling caution e When turning on the AC power in your audio system always turn on the device or external power amplifiers LAST to avoid speaker damage When turning the power off the device or external power amplifiers should be turned of
13. 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 LINE position m If you have connected a microphone or other mic level device set the switch to the MIC position W 5 If you are using one or more condenser microphones for your inputs set the PHANTOM switch to the ON position PHANTOM 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 POWER E T A Be sure to leave this switch BASIC Quick Guide off if you do not need phan tom power When using phantom power do not connect any devices other than condenser micro phones to the XLR input jacks Other devices may be damaged if connected to phantom power This precau tion does not apply to bal anced dynamic microphones however as these will not be affected by phantom power Before turning the PHAN TOM switch ON or OFF be sure to turn off the power to the mixer and to all other devices having internal amplifiers It is also recom mended that you set both MASTER knobs to their O position Neglect of these precautions may result in damage to speakers to other equipment or to your ears 5125 125 2125 Quick Guide Turn the MASTE
14. in on A Before turning the power ON or OFF be sure to turn both MASTER knobs and to 0 EMX512SC EMX312SC EMX212S Controls and Connectors Rear Panel eo0000000000000000000000000000000000000000000000 33 32 GER R MONITOR SPEAKERS jacks 9 AC IN connector Use these jacks to connect to speakers Note that the out Connects to the included power cord Connect one end put directed to these Jacks varies according to the setting of the cord to this connector and then plug the other end of the POWER AMP switch into a standard power outlet A1 B1 Neutrik NL4 Speakon outputs Polarities are different cord may pose risk of fire burns or equip as shown below ment damage Please use the cord that comes with the mixer Use of a 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 elimi nate hum noise and interference A2 B2 Phone output jacks EMX512SC EMX312SC EMX212S Connecting Speakers Connecting Speakers When making 2 channel and 2 channel parallel connections to the SPEAKERS jacks be sure that the impedance of your speak ers meets the conditions
15. 200 500 1260 5k 10 k Cymbal Snare Drum 20 k Hz Fundamental The frequency that determines the basic musical pitch Harmonics Multiples of the fundamental frequency that play a role in determining the timbre of the instrument 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 4 on the piano keyboard In the same way you can halve the frequency to 220 Hz to produce A2 an octave lower The frequencies controlled by the LOW MID and HIGH bands on this mixer have been specifically selected to provide the most musical range of adjustment with the widest possible range of instruments 100Hz 2 500 Hz and 10 000 Hz respectively Cut for a Cleaner Mix For example cymbals have a lot of energy in the mid and low frequency ranges that you don t really perceive as musical sound but which can interfere with the clarity of other instruments in these ranges You can basically turn the low EQ on cymbal channels all the way down without changing the way they sound in the mix You ll hear the diff
16. If so you might want to build the mix around the vocals This means bringing the vocal channel up to nominal first if your level setup procedure has been done properly this will be a good Starting point and then adding the other instruments What you add next will depend on the type of material you are working with and your approach to it If the vocals are backed by a piano trio and the song is a ballad for example you might want to bring in the piano next and get the vocal piano relationship just right then bring in the bass and drums to support the overall sound Example2 Funky R amp B Groove The approach will be totally different if you re mixing a funky R amp B number that centers on the groove In this 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 EMX512SC EMX312SC EMX212S The fundamental and harmonic frequency ranges of some musical instruments Sa Piano Bass Drum oe Bass Guitar 358 Trombone Trumpet 20 50 100
17. Maximum Cut Boost HIGH Shelving 10 kHz Q MONITOR control Adjusts the level of the signal sent from the channel into the MONITOR bus If input is from a stereo channel pair 5 6 7 8 9 10 or 11 12 the signals from the L and R channels are mixed before moving into the bus The MONITOR bus signal is output at the MONITOR OUT jack and may also be output from the SPEAKERS jacks depending on the setting of the POWER AMP switch The channel s LEVEL knob has no effect on the level of the signal sent into the MONITOR bus Q EFFECT knob Adjusts the level of the signal sent from the channel into the EFFECT bus If input is from a stereo channel pair 5 6 7 8 9 10 or 11 12 the signals from the L and R channels are mixed before moving into the bus The EFFECT bus signal is fed both to the internal digital effector and to the EFFECT OUT jack The channel s LEVEL knob also affects the level of the channel s signal into the EFFECT bus LEVEL knob Adjusts the signal s output level Use these knobs to adjust the volume balance among the various channels Nes To reduce noise set the knobs for unused channels to 0 Controls and Connectors COMP knob EMX512SC and EMX312SC only Q LINE and MIC jacks Channels 5 6 to 11 12 This knob adjusts the level of compression applied to the These jacks accept stereo inputs Use these to connect up channel As the knob is turned to the right the mixer ste
18. Nakazawa cho 10 1 Naka ku Hamamatsu Japan 430 8650 Tel 81 53 460 2317 OCEANIA AUSTRALIA Yamaha Music Australia Pty Ltd Level 1 99 Queensbridge Street Southbank Victoria 3006 Australia Tel 3 9693 5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Naka ku Hamamatsu Japan 430 8650 Tel 8 1 53 460 2313 HEAD OFFICE Yamaha Corporation Pro Audio amp Digital Musical Instrument Division Nakazawa cho 10 1 Naka ku Hamamatsu Japan 430 8650 Tel 8 1 53 460 2441 U R G Pro Audio amp Digital Musical Instrument Division Yamaha Corporation 2005 Yamaha Corporation WE29640 904CRAP2 3 12D0 Printed in China
19. ORTANT 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 EMX512SC EMX312SC EMX212S 98 6500 PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING Please keep this manual in a safe place for future reference A WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock short circuiting damages fire or other hazards These precautions include but are not limited to the following Power supply Power cord Only use the voltage specified as correct for the device The required voltage is printed on the name plate of the device e Use only the included power cord Do not place the power cord near heat sources such as heaters or radiators and do not excessively bend or otherwise damage the cord place heavy objects on it or place it in a position where anyone could walk on trip over or roll anything over it e Be sure to connect to an appropriate outlet with a protective grounding connection Improper grounding can result in electrical shock e Do not open the device or attempt to disassemble the internal parts or modify them in any way The device contains no user serviceable parts If it should appear to be malfunctioning discontinue use immediately and have it ins
20. OTE 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 YAMAHA CORPORATION OF AMERICA About this Manual This manual is divided into two main sections as follows Mixer Basics starts on page 6 regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interfer ence which can be determined by turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilize power outlets that are on different branch circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective me
21. R knob in the MAIN section to the posi tion This position 0 10 ES amp Adjust the LEVEL knobs for all occupied channels For each input device you have connected Generate sound from the device while adjusting the corresponding channel s LEVEL knob Adjust so that the LEVEL meter occasionally reaches the 0 level 6 NEED gt LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TN N E N N TN EM oe 28 2 0 10 0 10 0 10 0 4 a 1 i lt 2 2 1 0 10 0 10 0 10 0 10 0 9 Now turn the MASTER knob the MAIN section again as necessary to adjust the overall output level Gal MAS A 0 10 It is acceptable for the LIMITER lamps to flash on briefly at times but if they remain lit con tinuously then there is risk of damage to your speakers or to the internal amp Reduce the MASTER knob setting so that these lamps do not stay on EMX512SC EMX312SC EMX212S BASIC Quick Guide Adding Some Reverb Now let s try adding some reverb to your input The reverb effects let you simulate the sound of different performance environ ments such as concert halls and small clubs YAMAHA A 1 Turn the ON switch to it s ON position This switch turns the internal effector on and off The lamp lig
22. SC EMX212S Horizontal Orientation Tilting and Rack Mounting Tilting tt You can set the EMX unit at an angle as shown below Do not push too forcefully when tilting the unit Excess force may cause the unit to topple or turn potentially resulting in equipment damage or in injury to bystand ers ANS UL j 2 0 9 o Vo Rack Mounting oe000000000000000000000000000000000000000000000090 To prepare the unit for rack mounting use the separately sold RK512 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 7U of rack space 2 Using the kit s 4 screws attach the kit s 2 metal fittings RK512 Rack mount Kit as shown below Fittings How to install the rack mount hardware 3 Turn the EMX right side up Turn the EMX unit upside down EMX512SC EMX312SC EMX212S Setting Up Setting Up Top panel pP In most cases it 1s sufficient to connect speakers 4 to the SPEAKERS jacks on the unit s rear panel But if you want even more output you 6 can get it by connecting a power amp to the MAIN OUT or MONITOR OUT jack and then connecting speakers to the power amp 060 S L 5 m o 5 5 2 LS 05
23. TION DRIVE PARAMETER knob Adjusts 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 But note that all values return to their defaults at power off D ON switch Switches use of the internal effector on or off The inter nal effect is applied only if this switch is on Note that the lamp above the switch lights up orange to indicate that the switch 1 on As an alternative to the ON switch DUE you can use a separately sold FC5 foot switch to toggle the effector on and off The internal effector is automatically turned when ever you switch on the mixer s power 9 B EFFECT OUT jack FOOT SW EFFECT ON OFF This unbalanced phone output jack outputs the signal from the EFFECT bus You can use this jack to output the signal to an external effector You can then return the signal by connecting the external effector to any of the LINE jacks on channel pairs 5 6 to 11 12 If you are returning a signal from an external effector into a LINE jack on any channel pair 5 6 to 11 12 please be sure to turn the EFFECT knob for that chan nel pair to 0 PROGRAM dial Selects the type of effect to be used You c
24. UNIT Phantom Voltage CH 1 4 INPUT B Turn over roll off frequency of 10 k shelving E x Hz CH amp ST CH Equaliza shelving 3dB below maximum tion variable level 2 5 peaking _ peaking LOW maximum 100 100 shelving Woo programs Internal Digital Effect Parameter control FOOT SW ON OFF 2 5 points LED level meter MAIN L R 5 points LED level meter MONITOR Level Meters 6 3 0 5 10 dB FCL Sensitivity Input signal level gt 75dBu LED on CH1 4 MIC LINE MIC B Input CH 5 6 11 12 MIC Input POWER switch on off mute DC fault power supply shutdown manual reset Power Amplifier Thermal heatsink temp gt 90 C output mute auto reset Protection VI limiter RL lt 2 Q Clip limiter THD gt 1 96 Indicator x 2 Power Supply Thermal heatsink temp gt 100 C power supply shutdown manual reset EMX512SC EMX312SC EMX212S Specifications MN UNIT EMX5125C Power Consumption EMX312SC 450 W 2125 AC Cord Dimensions Depth 264 Width 442 5 Net Weigh Included Accessories Power cord Rubber stabilizers x 2 Owner s Manual RACK MOUNT KIT RK512 FOOT SW 705 Note All level control normally Maximum level Output impedance of signal generator 150 ohm Height mm Input Characteristics Actual Input Level Input Terminals MIC LINE Load TUNE Nominal Max before Connector Impedance Sensitivity 2 w position
25. an select from 16 different effect types as follows ees SW jack REVERB HALL 1 REVERB TIME This phone input jack can connect to the separately REVERB HALL 2 REVERB TIME sold YAMAHA 165 foot switch With the foot switch connected you can use your foot to toggle the internal 3 REVERB ROOM 1 REVERB TIME i effector ON and OFF REVERB ROOM 2 REVERB TIME REERBSWGE nevens mme EMX512SC EMX312SC EMX212S MAIN Section Controls and Connectors 000000000000000000000000000000000000000000000006 MONITOR 125 250 500 125 250 500 REC OUT MONITOR OUT SEE REAR PANEL CAUTION Graphic Equalizer This 7 band graphic equalizer adjusts the frequency characteristics of the stereo signal on the MAIN L and MAIN R buses This is the signal that is output to the MAIN OUT jacks and to the SPEAKERS jacks Each band can be adjusted by 12 dB The base frequen cies for the bands are 125 250 500 1k 2k 4k and Sk Hz EFFECT RETURN knob Adjusts the level of the signal sent from the internal effector to the MAIN L and MAIN R buses MASTER knob Adjusts the level of the signal output to the SPEAKERS jacks and MAIN OUT jacks QD 9 LEVEL meters The L and R meters show the level of the signal output from the MAIN OUT jack The MAIN OUT signal also passes through the inter nal power and is then output at SPEAKERS jacks Keep an eye on the LIMITER
26. asures 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 class B Presents a general explanation of mixers and mixer concepts Includes a Quick Guide that will help beginners get up to speed very quickly EMX Setup and Operation starts on page 20 Provides detailed information about the EMX Introduces the EMX features identifies and explains the controls indicators and connec tors and explains how to set up the equipment This manual applies to models EMX512SC EMX312SC and EMX212SC Within this manual the term EMX is used to refer to all three of these models 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 4 A EMX512SC EMX312SC EMX212S Thank yo
27. ay use one input or the other but not both Is the input signal from the connected device set to an appropriate level Input of a continuous sound from a CD player or other such source may cause the lamp to come on even in the absence of howling Check that the EFFECT knob on each channel is correctly adjusted Be sure that the internal effector s ON switch is turned on Be sure that the EFFECT RETURN knobs in the MAIN and MONITOR sections are correctly adjusted Try turning on the YS Processing switch Agjust the equalizers HIGH MID and LOW knobs on each channel Agjust the graphic equalizers Be sure that the YS Processing switch is turned off Agjusting the equalizers HIGH MID and LOW knobs on each channel Agjusting the graphic equalizers Connected a powered speaker to the MONITOR OUT jack Then adjust the MONITOR OUT signal by adjusting the channel MONITOR knobs and the MONITOR section s MASTER knob If you want to send the monitor signal to SPEAKERS jacks B1 and B2 set the POWER AMP switch to the down position to MAIN L R MON Note that in this case the B jacks will output the monitor signal and the A jacks will output a mix of the MAIN L and MAIN R signals EMX512SC EMX312SC EMX212S Specifications Specifications General Specifications onions US A UNT EMX512SC Maximum Output Power SPEAKERS OUT Eq m 2125 11677
28. band can be adjusted by 12 dB The base frequencies for the bands are 125 250 500 1k 2k 4k and 8k Hz EFFECT RETURN knob Adjusts the level of the signal sent from the internal effector to the MONITOR bus MASTER knob Adjusts the level of the monitor signal send to the MON ITOR OUT jack and if the POWER AMP switch is down to the SPEAKERS B jacks LEVEL meters The L and R meters show the level of the signal output from the MONITOR OUT jack If the POWER AMP switch is down the MONITOR OUT signal also passes through the internal power and is then output at SPEAKERS jacks and B2 Keep an eye on the LIMITER lamps to ensure that the level at the SPEAKERS jacks does not stay too high MONITOR OUT jack This unbalanced phone jack outputs the monaural moni tor signal You would typically connect this jack to pow ered speakers used for monitoring The signal sent to this jack 1s adjusted by the MONITOR section s MASTER knob and the settings of the MONITOR section s graphic equalizer Qj Controls and Connectors POWER Section A db db PW www 327 I PHANTOM POWER AMP 27 LIMITER Lez Processing 9 51 STAND BY CH 1 8 MUTE 6 3 POWER ON OFF PHANTOM switch This switch toggles 15V phantom power on and off If you set the switch on the mixer supplies power to th
29. d 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 EMX512SC EMX312SC EMX212S 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 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 OUTPUT 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 en
30. e XLR mic input jacks on all channels the INPUT B jacks on channels to 4 and the MIC jacks on channel pairs 5 6 to 11 12 Set this switch on when using one or more condenser microphones When this switch is on the mixer supplies DC 15V power to pins 2 and 3 of all XLR input jacks 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 how ever as these will not be affected by phantom power e Be sure to leave this switch off if you do not need 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 LEVEL knobs MAS TER knobs etc to minimum settings before operat ing the switch to avoid risk of loud noises that could cause hearing loss or device damage LIMITER lamps The lamp lights up when the amplified signal being output at the corresponding SPEAKERS jack 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 equip ment Reduce the setting of the MASTER knobs and until the lamps flash only briefly or not at all
31. e su tienda Yamaha m s cercana 0 el distribuidor autorizado que se lista debajo POLAND Yamaha Music Europe GmbH Branch Sp z o o Oddzial w Polsce ul 17 Stycznia 56 PL 02 146 Warszawa Poland Tel 022 868 07 57 THE NETHERLANDS BELGIUM LUXEMBOURG Yamaha Music Europe Branch Benelux Clarissenhof 5 b 4133 AB Vianen The Netherlands Tel 0347 358 040 FRANCE Yamaha Musique France BP 70 77312 Marne la Vall e Cedex 2 France Tel 01 64 61 4000 ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN PORTUGAL Yamaha Musica Ib rica S A Ctra de la Coruna km 17 200 28230 Las Rozas Madrid Spain Tel 91 639 8888 SWEDEN Yamaha Scandinavia AB J A Wettergrens Gata 1 Box 30053 S 400 43 Goteborg Sweden Tel 031 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 6A DK 2730 Herlev Denmark Tel 44 92 49 00 NORWAY Norsk filial av Yamaha Scandinavia AB Grini N ringspark 1 N 1345 ster s Norway Tel 67 16 77 70 RUSSIA Yamaha Music Russia Office 4015 entrance 2 21 5 Kuznetskii Most street Moscow 107996 Russia Tel 495 626 0660 OTHER EUROPEAN COUNTRIES Yamaha Music Europe GmbH Siemensstrabe 22 34 25462 Rellingen Germany Tel 49 4101 3030 AFRICA Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Naka ku Hamamatsu Japan 430 8650 Tel 81 53 460 2313 MIDDLE EAST TURKEY CYPRUS Yamaha
32. ear panel SU 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 gt EMX unit gt Amps Powered speakers When turning power off proceed in the opposite order Before turning power on make sure that the LEVEL and MASTER knobs are set to the 0 position Push the POWER switch in to turn the power ON The power lamp lights up to indicate that power is on To turn the power off push the switch again so that it pops out A 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 6 4 EMX512SC EMX312SC EMX212S Quick Guide Y 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 5 YAMAHA E guru GE E 3 2 on 2 SPEAKERS E Connect up the speakers and your input devices microphones inst
33. ength 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 To summarize Microphones Balanced noise cancellation Noise Hot Cold A 0 Ground Source degree in the mixer s high gain head amplifier How Do Balanced Lines Reject Noise Skip this section if technical details make you queasy Balanced lines work on the principle of ohase 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
34. erence however in the way the mix sounds more spacious and instruments in the lower ranges will have better definition Surprisingly enough piano also 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 Making the Most of Your Mixer has an incredibly powerful low end that can benefit from a bit of low frequency roll off to let other instruments notably drums and bass do their jobs more effectively Naturally you won t want to do this if the piano is playing solo The 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 Boost with Caution If you re trying to create special or unusual effects go ahead and boost away as much as you like But if you re just trying to achieve a good sounding mix boost only in very small increments A tiny boost in the midrange can give vocals more presence or a touch of high boost can give certain instrument
35. ers 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 WARNING 11 12 13 14 Only use attachments accessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is amp used use caution when moving the cart apparatus combination to avoid injury from tip over L Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE IMP
36. f 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 device 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 2 3 EMX512SC EMX312SC EMX212S 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 Yamaha cannot be held responsible for damage caused by improper use or modifications to the device Always turn the power off when the device is not in use The performance of components with moving contacts such as switches volume controls and connectors deteriorates over time Consult qualified Yamaha service personnel about replacing defective components IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING THIS APPARATUS MUST BE
37. g 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 EMX512SC EMX312SC EMX212S Controls and Connectors Controls and Connectors Controls on Each Channel 00000000000 e 000000000000000000 eQ WU Channels Channels Channels 1to4 5 6 and 7 8 9 10 and 11 12 Monaural Stereo Stereo 1 5 6 9 10 ER FCL 3 EMX512SC EMX312SC EMX212S FCL Feedback Channel Locating lamp This lamp is used during setup to identify any channel that might be howling Check these lamps when setting up for a performance If the lamp lights up adjust the channels equalizer or level knob to reduce the level so that the lamp goes off _ Input of a continuous sound as from a CD player or vocal may cause the lamp to come on even in the absence of howling Equalizer HIGH MID and LOW This three band equalizer adjusts the channel s high mid and low frequency bands Setting the knob to the w position produces a flat frequency response Turning the knob to the right boosts the corresponding frequency band while turning to the left attenuates the band The following table shows the equalization type the base fre quency and the maximum cut boost for each of the three bands Base Frequency
38. gineer 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 Q Min oY 10 V l 10 INPUT Making the Most of Your Mixer 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 bein
39. hts up orange to indicate that the effector is on As an alternative to the ON switch you can use a separately sold FC5 foot switch to toggle the effector on and off 2 Turn the PROGRAM dial to select the desired effect type To select a reverb effect turn the dial to any value from 1 to 7 svn BH KARAOKE H H svememow coms noman _ 3 Use the channel EFFECT knobs to adjust the effect depth for each channel EMX512SC EMX312SC EMX212S Quick Guide 4 Use the MAIN section s EFFECT RTN knob 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 will adjust the reverb time Y Using the Compressors to Enhance Vocals 512 and EMX312SC only 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 YAMAHA _ AN 9 OV 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 lead to howling For more information about the com
40. iano 913 4 andar Itaim Bibi CEP 04534 013 Sao Paulo SP BRAZIL Tel 011 3704 1377 ARGENTINA Yamaha Music Latin America S A Sucursal de Argentina Olga Cossettini 1553 Piso 4 Norte Madero Este C1107CEK Buenos Aires Argentina Tel 011 4119 7000 PANAMA AND OTHER LATIN AMERICAN COUNTRIES CARIBBEAN COUNTRIES Yamaha Music Latin America S A Torre Banco General Piso 7 Urbanizaci n Marbella Calle 47 y Aquilino de la Guardia Ciudad de Panam Panam Tel 4 507 269 5311 EUROPE THE UNITED KINGDOM Yamaha Music U K Ltd Sherbourne Drive Tilbrook Milton Keynes MK7 8BL England Tel 01908 366700 GERMANY Yamaha Music Europe GmbH Siemensstrabe 22 34 25462 Rellingen Germany Tel 04101 3030 SWITZERLAND LIECHTENSTEIN Yamaha Music Europe GmbH Branch Switzerland in Z rich Seefeldstrasse 94 8008 Z rich Switzerland Tel 01 383 3990 AUSTRIA Yamaha Music Europe GmbH Branch Austria Schleiergasse 20 A 1100 Wien Austria Tel 01 60203900 CZECH REPUBLIC SLOVAKIA HUNGARY SLOVENIA Yamaha Music Europe GmbH Branch Austria Schleiergasse 20 A 1100 Wien Austria Tel 01 602039025 PA24 Yamaha Pro Audio global web site http www yamahaproaudio com Yamaha Manual Library http Awww yamaha co jp manual Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefiihrten Niederlassung und bei Yamaha Vertragsh ndlern in den jeweiligen Bestimmungslandern erh ltlich Para detalles sobre productos contact
41. indicated below Note that actual speaker impedance varies according to connection method and num ber 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 2 channel parallel connection When connecting by 2 channel connection use speakers When connecting speakers in parallel as shown below use with impedance of 4 ohms to 8 ohms speakers with impedance of 8 ohms to 16 ohms 40 to 80 40 to 80 862 to 1602 862 to 1602 862 to 1602 862 to 1602 EMX512SC EMX312SC EMX212S Horizontal Orientation Tilting and Rack Mounting Horizontal Orientation Tilting and Rack Mounting Horizontal Orientation 00000000000000000000000000000000000000000000 you are going to position the EMX unit horizontally be sure to attach the included rubber stabilizers before use The stabilizers prevent the unit from tipping over Please detach the stabilizers when transporting the unit How to attach the rubber stabilizers Turn the unit upside down 3 Turn the EMX right side up 2 Attach the two rubber stabilizers that were included with the unit Push each stabilizer all the way in so that they are firmly in place stabilizer Y 2 EMX512SC EMX312
42. jack is sent in equal levels to LINE or MIC We also recommend that you turn all the MAIN L and MAIN R buses output controls LEVEL knobs MASTER knobs etc to minimum settings before operating the switch to avoid risk of loud noises that could cause hearing loss or device damage INPUT A and INPUT B jacks Channels 1 to 4 You can connect an input source to either jack Be sure to set the LINE MIC switch to match the type of device you are connecting INPUT A TRS phone type balanced line input T hot R cold S ground Accepts both bal anced and unbalanced line input R Cold S Ground T Hot INPUT XLR balanced mic input 1 ground 2 hot 3 cold If you are connecting a con denser microphone be sure to turn the PHANTOM switch to its ON position Cold Ground Hot 4 New You cannot use both jacks at the same time The signal into an INPUT jack is sent in equal lev els to the MAIN L and MAIN R buses EMX512SC EMX312SC EMX212S Controls and Connectors Digital Effects Section 00000000000000000000000000000000000000000004 we Paame KARAOKE ECHO _ wem om _ SX DIGITAL MULTI EFFECT PROCESSOR 1 REVERB HALL 1 2 REVERB HALL 2 3 REVERB ROOM 1 5 REVERB STAGE 1 6 REVERB STAGE 2 REVERB PLATE 8 DRUM AMBIENCE 9 KARAOKE ECHO HO VOCAL ECHO CHORUS 1 LFO FREQ 8 AUTO WAH LFO FREQ 8 DISTOR
43. lamps amp to ensure that the level at the SPEAKERS jacks does not stay too high 9 MAIN OUT L and jacks These unbalanced phone output jacks feed out the main stereo output You would typically connect these jacks to a power amp or powered speakers The signal sent to these jacks is adjusted by the MAIN section s MASTER knob and graphic equalizer 9 REC OUT L and R 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 Note that unlike the output from the MAIN OUT jacks the signal from the REC OUT jacks is not adjusted by the MAIN section s MAS TER knob and graphic equalizer Since this output signal is not adjusted by the MAIN section s MASTER knob you should adjust the level as necessary at the recording side EMX512SC EMX312SC EMX212S Controls and Connectors MONITOR Section o00000000000000000000000000000000000000000000000000 E 125 250 500 125 250 500 EFFECT RETURN M1 REC OUT MONITOR OUT MAIN OUT SEE REAR PANEL CAUTION EMX512SC EMX312SC EMX212S 24 MASTER a I gt 4 2 X10 amp Graphic Equalizer This 7 band graphic equalizer adjusts the frequency characteristics of the monitor signal that feeds to the MONITOR OUT jack 9 and if the POWER AMP switch is down to the SPEAKERS B jacks Each
44. ly 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 EMX512SC EMX312SC EMX212S Specifications Dimensional Diagrams 442 5 9900000 90000Q 79 0 5 9 9 Jo o J of 307 8 66 1 Unit mm EMX512SC EMX312SC EMX212S 34 Specifications ngpog 91 n amp po9 01008 8 09 I CN napos ngpos 00 1080 09 ngpor ngpor 5 ngppe LS MIO INON X ngpoc 9 1 8 Indi 0 ed ngpoz 00008011 00 T napoz ngpoz 3NI1 napoz 907 1080 MaPOe 2 9 is 193333 S ngpo A POI 00 1939 ngpo ap S ae ngp9 110 103343 naps nae ee E LLL ngpo 0 LNO MOLINON ngpp 110 4 ngPol Fi ngpol 7 gt lt A A Z I Qt IL LL LLLLLLLLL LLL LIII I S ___ 0 212 99216 06716808 1 jew dijo 8431 6110 s
45. m up one by one to fill out the mix But which channel should you start with Vocal Ballad Backed Piano Trio What are you mixing Is ita song in which the vocals are the most important element heard is 120 dB This is a non 00 linear scale and a difference of 3 dB actually results in a doubling or halving of the loudness You might encounter a number of 20 dBu P aneren vai cies dees Most professional mixers power amplifiers and other types of equipment have inputs and outputs with a dBV dBM and others but the nominal level of 4 dBu dBu is the basic decibel unit In 0dBu 0 775V the case of dBu 0 is The inputs and outputs on home use audio gear specified as a signal level of usually have a nominal level of 10 dBu 0 775 volts For example if a 20 dBu microphone s output level is 40 dBu 0 00775 V then to raise that level to 0 dBu 0 775 V in the 40 dBu Microphone signal levels vary over a wide range mixer s preamp stage requires depending on the type of microphone and the source that the signal be amplified by Average speech is about 30 dBu but the twittering of 100 times a bird might be lower than 50 dBu while a solid bass A mixer may be required to 60 dBu drum beat might produce a level as high as 0 dBu handle signals at a wide range of 60 EMX512SC EMX312SC EMX212S hh Making the Most of Your Mixer BASIC
46. nt 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 Reverb Level 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 EMX512SC EMX312SC EMX212S Making the Mos
47. or noisy An FCL lamp comes even though there is no howling on the channel Can t hear the internal digital effect The sound from the speakers seems dull want a more forceful sound want spoken words to be heard more clearly want to listen to moni tor output connected to the AC IN connector and plugged into a working power out let Check whether the vents at the sides 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 sides 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 Are microphones external devices and speakers connected correctly Are the channel LEVEL knobs and the two MASTER knobs set to appro priate levels 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 Check that the channel LEVEL knobs and the two MASTER knobs are set appropriately Check that the LINE MIC switches on channels 1 to 4 are set correctly On channels 1 to 4 be sure that you have not connected to both INPUT A and INPUT B On each of these channels you m
48. other out A balanced cable has three conductors 1 A ground conductor which carries no signal just the ground 0 reference against which the signal in the other conductors fluctuates Use balanced lines Short line level runs Unbalanced lines are fine if you re ina relatively noise free environment Long line level runs The ambient electromagnetic noise level will be the ultimate deciding factor but balanced is best EMX512SC EMX312SC EMX212S inversion A Noise cancelled 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 nn AIAN M Wl Outer Insulation 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 Making the Most of Your Mixer Unbalanced noise Source Signal Levels and the Decibel Let s take a look at one of the most commonly used units in a
49. p the product 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 product 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 Do not use the device in a confined poorly ventilated location If this device is to be used in a small space other than an EIA standard rack make sure that there is adequate space between the device and surrounding walls or other devices at least 10 cm at the sides 25 cm behind and 15 cm above 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
50. pected by qualified Yamaha service personnel N CAUTION e Do not expose the device to rain use it near water or in damp or wet conditions or place containers on it containing liquids which might spill into any openings e Never insert or remove an electric plug with wet hands If you notice any abnormality e f the power cord or plug becomes frayed or damaged or if there is a sudden loss of sound during use of the device or if any unusual smells or smoke should appear to be caused by it immediately turn off the power switch disconnect the electric plug from the outlet and have the device inspected by qualified Yamaha service personnel e f this device should be dropped or damaged immediately turn off the power switch disconnect the electric plug from the outlet and have the device inspected by qualified Yamaha service personnel Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others or damage to the device or other property These precautions include but are not limited to the following Power supply Power cord e Remove the electric plug from the outlet when the device is not to be used for extended periods of time or during electrical storms e When removing the electric plug from the device or an outlet always hold the plug itself and not the cord Pulling by the cord can damage it e Before moving the device remove all connected cables e When setting u
51. pressors see pages 18 and 21 EMX512SC EMX312SC EMX212S Making the Most of Your Mixer 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 connecior types The Venerable RCA Pin Jack Red 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 pin jacks are always unbalanced and generally carry a line level signal at 10 dB nominal You re most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer or when connecting
52. reo output devices such as stereo synthesizers and automatically raises the compression ratio while adjust CD players ing 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 LINE jacks Unbalanced stereo inputs On channel pairs 5 6 and 7 8 these are phone jacks on channel pairs 9 10 and 11 12 they are RCA pin jacks howling p MIC jack XLR balanced stereo mic level input jack LINE MIC switch Channels 1 to 4 If you are connecting a condenser micro Set this switch to match the type of input signal you are phone be sure to turn the PHANTOM supplying either a mic level low level signal or a switch to its ON position line level high level signal Set the switch to LINE s If you wish you may use the channel pair s LINE if you ar a line level DOME ce such asd and MIC jacks together at the same time But note keyboar d or audio device Set it to MIC i if you are that the levels cannot be adjusted independently connecting up a microphone or other mic level source s Signals into LINE L and LINE R jacks are sent To avoid damage to speakers be sure to turn off the independently to the corresponding MAIN L and R power to EMX itself and to any other power ampli buses fiers and power speakers before setting this switch to The signal into a MIC
53. ruments etc Before connecting input Use non powered speakers and dedicated speaker cable Connect one speaker devices to the EMX be sure to SPEAKERS jack A A1 or A2 and the other to jack B B1 or B2 Then con that all of these devices includ nect your input devices microphones guitar etc to the appropriate input jacks ing microphones are powered on the top panel For details see page 30 off And before turning the power to any device on or off RIGHT WRONG be sure to turn the volume of that device all the way down Neglect of these precautions may result in large noise bursts that may damage your equip ment your ears or both NOTE We recommend that you do not connect 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 A Never connect both A and B jacks to a single speaker Con nection of both jacks to the same speaker may result in damage to the mixer EMX512SC EMX312SC EMX212S Quick Guide EFFECT RETURN MASTER 7 This position 3 Set the POWER AMP switch to its upper position to MAIN L R For information about this switch see page 25 POWER AMP LIMITER 8 A EMX512SC EMX312SC EMX212S 4 If you have connected input devices to channels 1 to 4 set the LINE MIC switch on
54. s 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 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 MID Boost LOW Boost LOW Flat gp 01 MID Flat HIGH Boost HIGH Flat MID Cut Frequency Hz 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 significa
55. t The top panel offers separate main and monitor outputs while the POWER AMP switch can be used to set the SPEAKERS jacks so that they output either the main signal to both speakers or else the main signal to one speaker and the monitor signal to the other Separate MASTER control knobs and 7 segment graphic equalizers are also provided Compressors EMX512SC and EMX312SC only page 21 Compressors on channels 1 to 4 can be used to squeeze the dynamic range of inputs such as microphones and acoustic guitars attenuating the higher levels and bringing out the lower ones This feature helps reduce distortion and allows overall volume to be set higher resulting in a stron ger and more impressive sound Tilt Setup or Rack Mount page 29 The EMX can be positioned at an angle or mounted in a rack allowing for easy accessibility in a wide variety of set ups Internal Power Amp page 25 The internal amp makes it possible to connect the SPEAK 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 EMX512SC EMX312SC EMX212S Quick Guide Before Turning On the Mixer Connecting to Power Be sure that the POWER switch is in the OFF position 2 Connect the included power cord to the AC IN connector on the r
56. t of Your Mixer the way down then gradually bring the reverb into the mix until you can just hear the difference Any more than this normally becomes a special effect You don t want reverb to dominate the mix unless you are trying to create the effect of a band in a cave which is a perfectly legitimate creative goal if that s the sort of thing you re aiming for The Modulation Effects Phasing Chorus and Flanging All of these effects work on basically the same principle a portion of the audio signal is time shifted and then mixed back with the direct signal The amount of time shift is controlled or modulated by 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 recombine
57. u for your purchase of this Yamaha EMX512SC EMX312SC EMX212S power 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 Basic Quick Guide 6 Before Turning On the 6 Getting Sound to the 7 Adding Some 11 Using the Compressors to Enhance Vocals 12 Making the Most of Your Mixer 13 A Place for Everything and Everything in its Place 13 A Plethora of Connectors What Goes Where 13 Balanced Unbalanced What s the Difference 14 Signal Levels and the Decibel 15 Making Better 15 Approaching the Mix Where Do You Start 15 To EQ or Not to 16 hiec 17 The Modulation Effects Phasing Chorus and 18 COMDECS m T 18 Reference Controls and Connectors 20 Controls on Each 20 Digital Effects Section 22 MAIN 10
58. udio 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 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 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 1 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 the
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