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Yamaha EMX5016CF, Owner'S Manual

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Yamaha EMX5016CF Owner'S Manual Download Page 39

 Specifications

EMX5016CF Owner’s Manual

39

Reference

Block Diagram and Level Diagram

BA

BA

BA

BA

SUM

SUM

SUM

SUM

SUM

SUM

SUM

SUM

SUM

SUM

SUM

SUM

BA

BA

BA

BA

BA

BA

INV

INV

SUM

SUM

SUM

SUM

SUM

SUM

SUM

SUM

BA

BA

SUM

DR

DR

INV

PA

PA

INV

HA

BA

HA

HA

3-Stage EQ

3-Stage EQ

INV

HA

BA

BA

INV

PA

D

INSER

T

ST CH INPUT

ST CH LINE

[-60dBu to -16dBu]

[-34dBu to +10dBu]

[-30dBu to +14dBu]

[0dBu]

[0dBu]

[0dBu]

[0dBu]

GAIN

[-34dBu to +10dBu]

3-Stage EQ

ON

YE

LOW

MID

HIGH

LOW

MID

HIGH

Mid f

CH9/10,11/12,13/14,15/16

EFF2 ON/OFF

EFF1 ON/OFF

PHANT

O

M

RE

+48V

26dB

COMP

GAIN

COMP

(TH)

A

UX1

A

UX1

L

MONO

A

UX2

AFL/PFL

ST

AFL/PFL

ST

R

YSP

LIMITER

PO

WER AMP

LIMITER

YSP

[3mW 40ohms]

PHONES

[12V]

LAMP

SPEAKERS

[500WMAX @ 4ohms]

L

A

UX1

A

UX1

RE

LIMITER

RE

YE

75W

200W

500W

75W

ON

YS PR

OCESSING

(METER SELECT)

(LED METER)

ON

200W

500W

LIMITER

[+4dBu]

EFF 1

[+4dBu]

EFF 2

[+4dBu]

AU

X

2

[+4dBu]

AU

X

1

[0dBu]

[0dBu]

[0dBu]

[0dBu]

[0dBu]

[0dBu]

AFL

AFL

[0dBu]

[0dBu]

[0dBu]

[0dBu]

[-10dBu]

A

UX1

[-10dBu]

A

UX1

[0dBu]

[0dBu]

PHONES

[-16dBu]

Nor

m

al-phase

[0dBu]

[0dBu]

[0dBu]

[0dBu]

[0dBu]

RE

Clip Le

v

e

l

C

lip Le

v

e

l

Clip Le

v

e

l

CH INPUT (P

AD ON)  

GAIN Min.

 [+10dBu]

ST CH LINE

GAIN Min.

 [+10dBu]

ST CH LINE

GAIN Max.

 [-34dBu]

ST CH IN

[-10dBu]

ST CH MIC

[-60dBu]

ST CH MIC

[-16dBu]

CH INPUT (P

AD ON)  

GAIN Max.

 [-34dBu]

CH INPUT (P

AD OFF)  

GAIN Min.

 [-16dBu]

CH INPUT (P

AD OFF)  

GAIN Max.

 [-60dBu]

EFF 2R

TN

EFF2 OIT L

EFF IN 1

EFF IN 2

A/D

A/D

D/A

D/A

EFF2 OIT R

A

UX1

A

UX2

PFL

ENC2 [A-D]

ANPOR

T [2]

EFF2 ON

EFF2 LED

ENC1 [A-D]

ANPOR

T [0]

FOO

T1

FOO

T2

EFF1 ON

EFF1 LED

PR

OGRAM

EFFECT 1

P

ARAMETER

EFF 1 ON

YE

PR

OGRAM

EFFECT 2

P

ARAMETER

EFF 2 ON

YE

80

HPF

80

HPF

[-6dBu]

[-10dBu]

ST SUB OUT

L/MONO

REC OUT

[-10dBV]

SEND 

ST SUB OUT

[+4dBu]

ST OUT

[+4dBu]

R

R

L

R

L

ST

RE

GR

PEAK

SIGNAL

RE

GR

YE

ON

PEAK

SIGNAL

(CH F

ader)

[-10dBu]

[-10dBu]

P

AN/BAL

EFF 2

EFF 1

A

UX 2

A

UX 1

PRE

PRE

PFL

PFL

AFL

(ST CH F

ader)

[0dBu]

[0dBu]

[-6dBu]

[-6dBu]

[-6dBu]

[-6dBu]

[0dBu]

[0dBu]

[-6dBu]

[-6dBu]

[-6dBu]

PA

N

EFF 2

[-6dBu]

EFF 1

PRE

A

UX2

PRE

A

UX1

PFL

BA

[-10dBu]

[-6dBu]

[-6dBu]

EFFE 1R

TN

EFF1 OIT L

D/A

D/A

EFF1 OIT R

A

UX1

A

UX2

PFL

[-10dBu]

[-6dBu]

[-6dBu]

ST

AND-BY

+30dBu

+40dBu

0dBu=0.775V

0dBV=1V

+20dBu

+10dBu

0dBu

-10dBu

-20dBu

-30dBu

-40dBu

-50dBu

-60dBu

-70dBu

+30dBu

+40dBu

+20dBu

+10dBu

0dBu

-10dBu

-20dBu

-30dBu

-40dBu

-50dBu

-60dBu

-70dBu

Clip Le

v

e

l

Clip Le

v

e

l

1

2

A

R

MONO

A

UX2

1

2

B

INSER

T I/O 

[0dBu]

ST SUB le

ve

l control

S

T

, A

U

X

 f

a

d

e

r [-10dBu]

ST OUT

, ST SUB OUT [

+

4

d

B

u

]

PHONES 

[-16dBu]

[PHONES 3mW@

40ohms]

SPEAKER OUT

MAXIMUM OUTPUT PO

WER [500W/4ohms]

[125W/4ohms]

(+29.2dBu)

(+35.2dBu)

A

UX SEND

, EFFECT SEND 

[+4dBu]

[-6dBu]

C

H

 &

 S

T

 C

H

 t

o

 S

T

 [0dBu] 

(P

AN,BAL 

hard 

left/r

ight)

CH & ST CH to A

UX/EFFECT 

[-6dBu]

REC OUT 

[-10dBV]

CH f

ader 

[-10dBu]

AUX 1(MUTE)

ST L(MUTE)

ST R(MUTE)

AUX 2(MUTE)

EFFECT1(MUTE)

EFFECT2(MUTE)

AUX 1(NON-MUTE)

ST L(NON-MUTE)

ST R(NON-MUTE)

AUX 2(NON-MUTE)

EFFECT1(NON-MUTE)

EFFECT2(NON-MUTE)

PFL L/AFL L

PFL R/AFL R

[0dBu]

[0dBu]

[0dBu]

A/D

A/D

Multi

Band

Comp

.

GEQ

+

FRC

FBS

DSP

ST OUT R

ST R

ST OUT L

ST L

D/A

D/A

INPUT A

INPUT B

[-60dBu to -16dBu]

[-34dBu to +10dBu]

MIC

L

[-60dBu to -16dBu]

CH9L,11L,13L,15L

[-34dBu to +10dBu]

R

CH10R,12R,14R,16R

[-34dBu to+10dBu]

CH INPUT

CH1-8

Summary of Contents for EMX5016CF

Page 1: ...leitung Mode d emploi Manual de instrucciones Owner s Manual Bedienungsanleitung Mode d emploi Manual de instrucciones ES FR DE EN Making the Most of Your Mixer Pages 12 to 18 Quick Guide Pages 7 to 11 POWERED MIXER POWERED MIXER ...

Page 2: ...he 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: ...ng the device for a long time make sure to unplug the power cord from the wall AC outlet If this device is to be mounted in an EIA standard rack leave the back of the rack open and make sure that it is at least 10 cm away from walls or surfaces Also if this device is to be mounted with devices that tend to generate heat such as power amplifiers be sure to keep an adequate gap between this device a...

Page 4: ...y 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 MODIF...

Page 5: ...ixer 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 ...

Page 6: ... no need for an external amplifier in between The rear panel offers two types of speaker connectors phone jacks and Neutrik Speakon jacks Graphic Equalizer and FRC page 30 This 9 band graphic equalizer adjusts the frequency characteristics of the Stereo bus signal output A convenient FRC function Frequency Response Correction System allows you to measure the frequency characteristics of the sound ...

Page 7: ...anel For details see page 33 NOTE We recommend that you avoid connecting electric instruments such as elec tric guitars and basses directly to the EMX Instead these instruments should be connected through an intermediary device such as a direct box a preamp guitar amp or an amp simulator Getting Sound to the Speakers Input jacks SPEAKERS jacks WRONG RIGHT CAUTION Before connecting input devices to...

Page 8: ... POWER switch GAIN controls ON switches PEAK indicators Channel faders POWER AMP switch PHANTOM switch ST Master fader CAUTION Be sure to leave this switch off if you do not need phantom power When using phantom power do not connect any devices other than condenser microphones to the XLR input jacks Other devices may be damaged if connected to phantom power This precaution does not apply to balanc...

Page 9: ...djust 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 liste...

Page 10: ...r on and off 3 Set the EFF1 RTN fader to the 0 position 4 Use the channel EFF1 knobs to adjust the effect depth for each channel 5 Use the EFF1 RTN fader to adjust the overall effect depth Note that you can use the PARAMETER knob to adjust the charac teristic sound of the selected effect If you have selected a reverb effect the knob adjusts the reverb time 1 1 1 1 HALL 1 5 SMALL STAGE 1 9 9 9 9 CH...

Page 11: ...lt is a cleaner sound where nuances remain audible and the lyrics are easier to hear 1 Adjust the COMP knobs on the relevant channels Turn the knob clockwise to increase the compression Avoid setting the value too high as too much compres sion may result in howling For more information about the compressors see page 18 Using the Compressors to Enhance Vocals COMP knobs ...

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: ...ith 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 fr...

Page 17: ...am 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 t...

Page 18: ...inent 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 ...

Page 19: ... A or INPUT B but not both Please connect to only either of these jacks on each channel 2 LINE MIC Jacks Channels 9 10 to 15 16 These jacks accept stereo inputs and mic inputs Use these to connect up stereo output devices such as ste reo synthesizers and CD players and microphones LINE jacks Unbalanced stereo inputs Each channel pair have phone jacks and RCA pin jacks MIC jack XLR balanced mic lev...

Page 20: ...djust the gain so that the PEAK indi cator D comes on only at about maximum input level The 60 to 16 scale indicates the MIC input adjust ment level The 34 to 10 scale indicates the LINE input adjustment level 6 High Pass Filter Switch Switches the high pass filter on off To turn the HPF on press this switch in The HPF cuts frequencies below 80 Hz But note that regardless of the switch setting the...

Page 21: ...1 2 jack H The level into the EFFECT1 2 buses is affected by the setting of the channel s fader G B PAN Control Channels 1 to 8 BAL Con trol Channels 9 10 to 15 16 The PAN control determines the positioning of the channel s signal on the Stereo L and R buses The BAL control sets the balance between left and right channels Signals into the L input odd channel feed to the Stereo L bus signals into t...

Page 22: ... mixer automatically restores the value that was previ ously used with that type regardless of the current position of the PARAMETER knob K AUX1 2 Knobs Each knob adjusts the level of the effected sound into the corresponding AUX1 and AUX2 buses L EFF1 2 ON Switches Indicators Switches use of the internal effect on or off The inter nal effect is applied only if this switch is turned on To set the ...

Page 23: ...mixed stereo signal L and R where the level is adjusted by the ST master fader l You would typically connect these jacks to a power amp or powered speakers S PHONES Jack Connector for headphones This is a balanced stereo phone type output jack T LAMP Jack This XLR 3 pin type output jack is for connection to an optional lamp Supported lamps 12 V AC or DC max 5 W Power of 12 V is supplied between pi...

Page 24: ...CT mode If you press and hold the MEASURE CORRECT switch for two seconds or longer after measurement the correction curve corresponding to the frequency characteristics of the measurement result is applied to the GEQ and the indicator lights up The correction curve will be retained until the next measurement If you wish to recall the correction curve after turning off the GEQ ON switch or power sw...

Page 25: ...N switch for two seconds or longer The indicator flashes when all notch filters are cleared As long as you do not clear the notch filters the filter settings will be retained even when you turn off the mixer s power MAXIMIZE ON switch When this switch is turned on a multi band 3 band compressor is applied to the Stereo L R bus signal enhancing the sound and volume of the overall output Turning on ...

Page 26: ...he ST AFL PFL switch e is set to ST these meters show the L and R levels of the signal output from the ST OUT jacks R If the ST AFL PFL switch is set to AFL PFL the meters show the levels output from the PHONES jack S Note that the signal output to the ST OUT jacks is also passed through the internal amplifier and then output at the SPEAKERS jacks m Keep an eye on the LIMITER lamps to ensure that ...

Page 27: ...g output at the ST OUT or the SEND AUX1 or SEND AUX2 jack If the switch is on the signal following adjustment by the ST master fader or AUX1 or AUX2 fader is fed to the AFL bus so that it can be monitored at the PHONES jack The signal levels into the AFL bus are not affected by the settings of the ST master fader or the AUX1 2 fader settings The PFL F M i and AFL j switches select the mix to be mo...

Page 28: ...d power cable here Connect one end of the cord to this connector and then plug the other end into a standard power outlet Before turning the power ON or OFF be sure to turn both the ST master fader and the AUX1 and AUX2 faders are all the way down p Ground Screw For maximum safety be sure to securely connect the EMX to an earth connection The supplied power cable has a three prong plug that will g...

Page 29: ...d 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 bel...

Page 30: ...the GEQ dis play every five seconds after measurement starts 6 Confirm that the measurement result is consistent and then press the MEASURE CORRECT switch to suspend the measurement The result is retained even after suspension At this time the GEQ display indications flash This step is also handy for altering the location of the speakers and microphone since the noise output is muted during the su...

Page 31: ...surement result is consistent and then press the MEASURE CORRECT switch to suspend the measurement The result is retained even after suspension At this time the GEQ display indications flash This step is also handy for altering the location of the speakers and microphone since the noise output is muted during the suspension To resume the measure ment press the MEASURE CORRECT switch again 7 Turn o...

Page 32: ...The EMX unit requires 12U of rack space How to install the rack mount hardware Use a screwdriver to remove the screws from the EMX unit Set the kit s two metal fittings into position and screw them in using the screws silver included in the RK5014 Do not use the screws black you just removed from the EMX unit Mount the unit into the rack and fasten it into place Do not install the mixer near power...

Page 33: ...ERTION SYSTEM MASTER EFFECT VOICE SONG PERFORM MASTER PATTERN FILE EFFECT MODE SEQ TRANSPORT SEQUENCER LOCATE 1 2 INTEGRATED SAMPLING MIXING UTILITY EDIT COMPARE SCENE STORE SET LOCATE JOB STORE DEMO EXIT ENTER EXECUTE DEC NO INC YES KNOB CONTROL FUNCTION MASTER VOLUME ZONE 1 CS 1 VOLUME 1 SWING CUTOFF PAN ASSIGN A GATE TIME RESONANCE REVERB ASSIGN B VELOCITY ATTACK CHORUS ASSIGN 1 UNITMULTIPLY RE...

Page 34: ...nnels you may use one input or the other but not both Is the input signal from the connected device set to an appropriate level You may be applying excessive digital effect Check your effect settings No effect is applied Check that the EFF1 2 knob on each channel is correctly adjusted Be sure that the internal effector s ON switch is turned on Check that the EFF1 2 RTN fader is correctly adjusted ...

Page 35: ... 1 8 One control adjusts the Gain Threshold and Ratio simultaneously PEAK Indicator On each channel Indicator lights if post EQ signal comes within 3dB of the clipping level SIGNAL Indicator On each channel Indicator lights if post EQ signal reaches 10dB STANDBY Switch CH1 8 mute Level Meter ST PFL AFL Two 12 points LED level meter PEAK 5 3 1 0 1 3 5 7 10 15 20 dB PEAK lights if the signal comes w...

Page 36: ...ck 4 16 dB 36 dBu 12 3 mV 16 dBu 123 mV 4 dBu 1 23 V 26 dB 34 dB 54 dBu 1 55 mV 34 dBu 15 5 mV 14 dBu 155 mV 10 dB 10 dBu 245 mV 10 dBu 2 45 V 30 dBu 24 5 V ST CH MIC INPUT 9 10 15 16 60 dB 3 kΩ 50 600 Ω Mics 80 dBu 0 078 mV 60 dBu 0 775 mV 40 dBu 7 75 mV XLR 3 31 type 3 16 dB 36 dBu 12 3 mV 16 dBu 123 mV 10 dBu 245 mV ST CH LINE INPUT 9 10 15 16 34 dB 10 kΩ 600 Ω Lines 54 dBu 1 55 mV 34 dBu 15 5 ...

Page 37: ... signal 15 DYNA FILTER Sensitivity 0 to 127 An effect which applies a low pass filter 16 PITCH CHANGE Pitch 12 to 12 An effect which changes the pitch of the signal No Program Parameter Range Descriptions 1 HALL 2 Reverb Time 0 3 to 10 0 s Reverb simulating a large space such as a concert hall 2 ROOM 2 Reverb Time 0 3 to 3 2 s Reverb simulating the acoustics of a small space room 3 PLATE 2 Reverb ...

Page 38: ...38 EMX5016CF Owner s Manual Specifications Reference Dimensional Diagrams 485 8 493 145 6 155 Unit mm 444 440 excluding screw heads ...

Page 39: ...T 2 EFF2 ON EFF2 LED ENC1 A D ANPORT 0 FOOT1 FOOT2 EFF1 ON EFF1 LED PROGRAM EFFECT 1 PARAMETER EFF 1 ON YE PROGRAM EFFECT 2 PARAMETER EFF 2 ON YE 80 HPF 80 HPF 6dBu 10dBu ST SUB OUT L MONO REC OUT 10dBV SEND ST SUB OUT 4dBu ST OUT 4dBu R R L R L ST RE GR PEAK SIGNAL RE GR YE ON PEAK SIGNAL CH Fader 10dBu 10dBu PAN BAL EFF 2 EFF 1 AUX 2 AUX 1 PRE PRE PFL PFL AFL ST CH Fader 0dBu 0dBu 6dBu 6dBu 6dBu...

Page 40: ... 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 Herlev Denm...

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