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EMX5014C Owner’s Manual

5

Thank you for your purchase of this Yamaha EMX5014C powered mixer. Please read through this man-
ual carefully before beginning use, so that you will be able to take full advantage of your mixer’s super-
lative 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 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

■

Front & Rear Panels.......................................................................................19

Controls on Each Channel ................................................................................................................. 19

Digital Effects Section ........................................................................................................................ 22

Master Section ................................................................................................................................... 24

Rear Panel ......................................................................................................................................... 27

Speaker Connections ....................................................................................28

2-channel connection ................................................................................................................. 28

2-channel parallel connection .................................................................................................... 28

Rack Mounting ...............................................................................................29

Setup ...............................................................................................................30

Troubleshooting.............................................................................................31

Specifications.................................................................................................32

Contents

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Summary of Contents for EM5014C

Page 1: ...POWERED MIXER POWERED MIXER Owner s Manual Owner s Manual EN Making the Most of Your Mixer Pages 12 to 18 Quick Guide Pages 7 to 11 ...

Page 2: ...e 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 ...

Page 3: ...g 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 a...

Page 4: ... 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...

Page 5: ...g 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 Eff...

Page 6: ...igher resulting in a stronger and more impressive sound Rack Mounting page 29 To prepare the unit for rack mounting use the separately sold RK5014 rack mount kit 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 jac...

Page 7: ...ut jacks on the top panel For details see page 30 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 1 1 RIGHT WRONG Before connecting input devices to the EMX b...

Page 8: ...he PHANTOM switch to the ON position 2 2 3 5 8 10 2 10 4 9 11 2 3 5 6 7 7 8 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...

Page 9: ...g 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 li...

Page 10: ...tor on and off 3 Set the EFFECT RTN fader to the 0 position 4 Use the channel EFFECT knobs to adjust the effect depth for each channel 5 Use the EFFECT 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 1 REVERB HALL 1 5 5 5 5 REVERB ST...

Page 11: ...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 1 ...

Page 12: ...n 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 si...

Page 13: ...er s high gain head amplifier How Do Balanced Lines Reject Noise Skip this section if technical details make you queasy Balanced lines work on the principle of phase cancellation if you add two identical signals out of phase i e one signal is inverted so its peaks coincide with the troughs in the other signal the result is nothing A flat line The signals cancel each other out While the desired aud...

Page 14: ...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 m...

Page 15: ... 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 back...

Page 16: ...th 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 instruments more air Listen and if things don t sound clear and clean try using cut to remove fre...

Page 17: ...m 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 the way down then gradually bring the reverb into the mix until you can just hear the difference Any more th...

Page 18: ...nent 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 u...

Page 19: ...r INPUT B but not both Please connect to only of these jacks on each channel 2 LINE MIC Jacks These jacks accept stereo inputs Use these to connect up stereo output devices such as stereo synthesizers and CD players LINE jacks Unbalanced stereo inputs On channel pairs 7 8 and 13 14 these are phone jacks on channel pairs 11 12 and 13 14 they are RCA pin jacks MIC jack XLR balanced stereo mic level ...

Page 20: ...indi cator E 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 Channels 1 to 9 10 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 n...

Page 21: ...r feeds the post fader signal B EFFECT Knob Adjusts the level of the signal sent from the channel to the EFFECT bus If input is from a stereo channel pair 7 8 9 10 11 12 or 13 14 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 SEND EFF jack I The level into the EFFECT bus is affected by the set...

Page 22: ...ifferent effect types as follows K PARAMETER Control 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 r...

Page 23: ...s power N PFL Pre Fader Listen Switch Set this switch on to feed the signal from the internal digital effect signal pre the EFFECT RTN fader 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 G N d and AFL e switches select the mix to be monitored at the PHONES jack If the channel s PFL or AFL sw...

Page 24: ...jacks output the mixed stereo signal L and R where the level is adjusted by the ST master fader g You would typically connect these jacks to a power amp or powered speakers T PHONES Jack Connector for headphones This is a balanced stereo phone type output jack U POWER Indicator The indicator lights up when the POWER switch i is on V Graphic Equalizer This 9 band graphic equalizer adjusts the frequ...

Page 25: ...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 switchi...

Page 26: ...tput 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 G N d and AFL e switches select the mix to be monito...

Page 27: ...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 k Ground Screw For maximum safety be sure to securely connect the EMX to an earth connection The supplied power cable...

Page 28: ... 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 ...

Page 29: ... 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 t...

Page 30: ...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 UNITM...

Page 31: ...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 An FCL lamp lights up even though there is no howling on the channel Input of a continuous sound from a CD player or other such source may cause the lamp to come on even in the a...

Page 32: ... dB Maximum Variation Turn over roll off frequency of shelv ing 3 dB below maximum variable level HIGH 10kHz shelving MID MONO 250 5kHz peaking MID ST 2 5kHz peaking LOW 100Hz shelving PEAK Indicator On each channel indicator lights if post EQ signal on ST channels if either post EQ signal or post mic amp signal comes within 3 dB of the clipping level SIGNAL Indicator On each channel indicator lig...

Page 33: ...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 INPUT B 7 8 9 10 60 dB 3 kohms 50 600 ohms 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 34 dB 10 kohms 600 ohms Lines 54 dBu 1 55 mV 34 dBu 15 5 mV 14 dBu 155 mV Phone Jack 5 10 dB 10 dBu 245 mV 10 dBu 2 45 V 30 dBu 24 5 V ST CH INPUT 11 12 13 1...

Page 34: ...Specifications EMX5014C Owner s Manual 34 Reference Dimensional Diagrams 485 8 493 145 6 155 Unit mm 444 440 excluding screw heads ...

Page 35: ... ST CH LINE GAIN Max 34dBu 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 ON IN LO RO DIGITAL EFFECT DSP EFFECT RTN HA L MONO FCL R CH8R 10R 80 80 HPF HPF HA HA HA HA 6dBu BA BA BA BA 10dBu ST SUB OUT L MONO ST SUB OUT ST OUT 4dBu 4dBu R R L ST YE YE RE GR FCL PEAK SIGNAL CH Fader 10dBu 0dBu 0dBu 6dBu 6dBu 6dBu PAN AUX...

Page 36: ...l 01 64 61 4000 ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN PORTUGAL Yamaha Hazen Música 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 Göteborg Sweden Tel 031 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 6A DK 2730 H...

Page 37: ... Musical Instrument Division Yamaha Corporation 2005 Yamaha Corporation WG13770 702CRAPx x 04C0 Printed in China Yamaha Pro Audio global web site http www yamahaproaudio com Yamaha Manual Library http www yamaha co jp manual ...

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