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POWERED MIXER
POWERED MIXER
Owner’s Manual
Owner’s Manual
Bedienungsanleitung
Bedienungsanleitung
Mode d’emploi
Mode d’emploi
Manual de instrucciones
Manual de instrucciones
Quick Guide
Pages 7 to 11
Making the Most of Your Mixer
Pages 12 to 18
EN
DE
FR
ES
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Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert CAUTION the user to the presence of uninsulated RISK OF ELECTRIC SHOCK “dangerous voltage” within the product’s DO NOT OPEN enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral CAUTION: TO REDUCE THE RISK OF triangle is intended to alert the user to the ELECTRIC SHO
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PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the device. The required voltag
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XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-). Use only Neutrik plugs (NL4) for connecting Speakon connectors. Insert TRS phone jacks are wired as follows: sleeve: ground, tip:send, and ring:return. Yamaha cannot be held responsible for damage caused by improper use or modifications to the device. Always turn the power off when the device is not in use. The performance of components with moving contacts, such as sw
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Thank you for your purchase of this Yamaha EMX5016CF powered mixer. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of your mixer’s superlative features and enjoy trouble-free operation for years to come. After reading the manual, please store it in a safe place. Contents Features........................................................................................................................................
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Features Input Channels ................................................................................................page 19 The EMX offers 12 monaural mic/line input channels (1 to 15/16) and four stereo input channel pairs (9/10 to 15/16), allowing you to freely mix inputs from microphones, line- level devices, and stereo devices. For example, you can mix eight microphones with four stereo devices, or ten microphones with two stereo synthesizers. High-Q
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Mixer Basics Quick Guide Mixer Basics Getting Sound to the Speakers We begin by connecting up two speakers and generating some stereo output. Note that opera- tions and procedures will vary somewhat according to the input devices you are using. Input jacks SPEAKERS jacks 1 Connect up the speakers and your input devices RIGHT (microphones, instruments, etc.). Use non-powered speakers and dedicated speaker cable. Connect one speaker to SPEAKERS jack A (A1 or A2), and the other to jack
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Mixer Basics Quick Guide [26dB] switches GAIN controls POWER AMP switch PHANTOM switch ON switches PEAK indicators POWER switch ST Master fader Channel faders 2 Turn the Channel faders and the ST Master fader all the way down. 3 Set the POWER AMP switch to its upper position (to L-R). For information about this switch, see page 25. 4 If you have connected input devices to channels 1 to 8, set the [26dB] switch ON ( ) or OFF ( ) on each channel accordingly. If you have connecte
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Mixer Basics Quick Guide 6 Turn on the power. First turn on the power to all connected devices other than powered speakers and amp, and then turn on the EMX itself. If using powered speakers or amps, turn these on last. NOTE To prevent an unpleasant burst of noise from the speakers, you should power up the sound sources first, and then the other devices in order of their dis- tance from the source (starting with the closest). For example: Sound source (external devic
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Mixer Basics Quick Guide Adding Some Reverb You can use the reverb effect to simulate the sound of a concert hall or jazz club. PROGRAM dial EFF1 knobs EFF1 ON switch EFF1 RTN fader 1 Turn the EFFECT1 PROGRAM dial to select the desired effect type. To select a reverb effect, turn the dial to any value from 1 to 5. 1111 HALL 1 5 SMALL STAGE 1 9999 CHORUS C TREMOLO 2222 ROOM 1 6 VOCAL ECHO 0000 EARLY REF. D SINGLE DELAY 3333 PLATE 1 7 KARAOKE AAAA GATE REVERB E DYNA FILTER 4444 LARGE STAGE 1 8 DEL
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Mixer Basics Quick Guide Using the Compressors to Enhance Vocals The compressor evens out the input level, reducing the level of loud passages and bringing up softer passages. The result is a cleaner sound where nuances remain audible and the lyrics are easier to hear. COMP knobs 1 Adjust the COMP knobs on the relevant channels. Turn the knob clockwise to increase the compression. Avoid setting the value too high, as too much compres- sion may result in howling. For more information about the c
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Mixer Basics Making the Most of Your Mixer An Introduction You’ve got yourself a mixer and now you’re ready to use it. Just plug everything in, twiddle the controls, and away you go … right? Well, if you’ve done this before you won’t have any problems, but if this is the first time you’ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes. A Place for Everything and Everything in its P
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Mixer Basics Making the Most of Your Mixer Balanced, Unbalanced—What’s the Difference? In a word: “noise.” The whole point of balanced lines is noise To summarize rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic Microphones: Use balanced lines. radiation we’re constantly surrounded by: radio and TV signals as Short line-level Unbalanced lines well as spurious electromagnetic noise generated by power lines, runs:
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Mixer Basics Making the Most of Your Mixer A balanced cable has three conductors: 1) A ground conductor which carries no signal, just the “ground” or “0” Balanced Unbalanced reference against which the signal in the other conductors fluctuates. Hot 2) A “hot” or “+” conductor which carries the normal-phase audio signal. 3) A “cold” or “–” conductor which carries the reverse-phase audio signal. Cold Shield (Ground) Outer Insulation Signal Levels and the Decibel Let’s take a look at one of the
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Mixer Basics Making the Most of Your Mixer Making Better Mixes Approaching the Mix—Where Do You Start? Mixing is easy, right? Just move the faders around until it sounds right? Well, you can do it that way, but a more systematic approach that is suited to the material you’re mixing will produce much better results, and faster. There are no rules, and you’ll probably end up developing a system that works best for you. But the key is to develop a system rather than working haphazardly. Here are a
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Signal Level (dB) Mixer Basics Making the Most of Your Mixer To EQ or Not to EQ In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better definition. Bad EQ—and most commonly bad boost—just sounds terrible. Cut for a Cleaner Mix The fundamental and harmonic frequency ranges of some For example:
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Mixer Basics Making the Most of Your Mixer Reverb Level Ambience It’s amazing how quickly your ears can lose perspective and fool you into believing that a totally Your mixes can be further refined by adding washed-out mix sounds perfectly fine. To avoid ambience effects such as reverb or delay. On the falling into this trap start with reverb level all the way EMX mixers these effects are built in. The internal down, then gradually bring the reverb into the mix DSP (Digital Signal Processor) ca
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Mixer Basics Making the Most of Your Mixer Compression Have you ever wondered why professionally produced recordings sound so different from your own? There are numerous reasons, of course, but one important factor is the judicious use of compression. One form of compression known as “limiting” can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. OUTPUT Compression can also be used within a mix to (Min) make a voice or instrument seem to come forward, o
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Reference Reference Front & Rear Panels 1 INPUT A and INPUT B Jacks (Channels 1 Controls on Each Channel to 8) You can connect an input source to either jack. Be sure to set the [26 dB] switch 4 to match the type of device Channels Channels you are connecting. 1 to 8 9/10 to 15/16 (Monaural) (Stereo) INPUT A: A balanced XLR-type microphone input jack (1:Ground; 2:Hot; 3:Cold). If you are connecting a condenser micro- phone, be sure to turn the PHANTOM switch c to its ON position. 1 Cold (–) 2 G
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Reference Front & Rear Panels 3 INSERT I/O Jack (Channels 1 to 8) Each of these jacks is positioned between the equalizer Channels Channels and fader of the corresponding input channel (1 to 8). 1 to 8 9/10 to 15/16 (Monaural) (Stereo) You can use these jacks to connect channels to devices such as graphic equalizers, compressors, and noise fil- ters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation. NOTE Connection to an INSERT I/O jack requires a special separat
