Yamaha DJ Equipment EMX5014C User Manual

POWERED MIXER  
POWERED MIXER  
Owner’s Manual  
Quick Guide  
Pages 7 to 11  
Making the Most of Your Mixer  
Pages 12 to 18  
EN  
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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, re or other hazards. These precautions include, but are not limited to, the following:  
Power supply/Power cord  
Water warning  
• Only use the voltage specified as correct for the device. The required voltage is  
printed on the name plate of the device.  
• 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.  
• Use only the included power cord.  
• Never insert or remove an electric plug with wet hands.  
• 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.  
If you notice any abnormality  
• If the power cord or plug becomes frayed or damaged, or if there is a sudden  
loss of sound during use of the device, or if any unusual smells or smoke  
should appear to be caused by it, immediately turn off the power switch,  
disconnect the electric plug from the outlet, and have the device inspected by  
qualified Yamaha service personnel.  
• Be sure to connect to an appropriate outlet with a protective grounding  
connection. Improper grounding can result in electrical shock.  
Do not open  
• If this device should be dropped or damaged, immediately turn off the power  
switch, disconnect the electric plug from the outlet, and have the device  
inspected by qualified Yamaha service personnel.  
• Do not open the device or attempt to disassemble the internal parts or modify  
them in any way. The device contains no user-serviceable parts. If it should  
appear to be malfunctioning, discontinue use immediately and have it inspected  
by qualified Yamaha service personnel.  
CAUTION  
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage  
to the device or other property. These precautions include, but are not limited to, the following:  
• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile  
phone, or other electric devices. Doing so may result in noise, both in the  
device itself and in the TV or radio next to it.  
Power supply/Power cord  
• Remove the electric plug from the outlet when the device is not to be used for  
extended periods of time, or during electrical storms.  
Connections  
• When removing the electric plug from the device or an outlet, always hold the  
plug itself and not the cord. Pulling by the cord can damage it.  
• Before 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.  
Location  
• Before moving the device, remove all connected cables.  
• Use only speaker cables for connecting speakers to the speaker jacks. Use of  
other types of cables may result in fire.  
• When setting up 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.  
• Do not use speaker cables with a metal-housing connector. Doing so may result  
in electrical shock due to differences in voltage. Use speaker cables with a non-  
metal-housing connector, or with a insulated-housing connector.  
Handling caution  
• 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.  
• When turning on the AC power in your audio system, always turn on the device  
or external power amplifiers LAST, to avoid speaker damage. When turning the  
power off, the device or external power amplifiers should be turned off FIRST for  
the same reason.  
• Do not insert your fingers or hands in any gaps or openings on the device  
(vents, etc.).  
Inadequate ventilation can result in overheating, possibly causing damage to  
the device(s), or even fire.  
• 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.  
• Avoid setting all equalizer controls and faders to their maximum. Depending on  
the condition of the connected devices, doing so may cause feedback and may  
damage the speakers.  
• Do not use the speakers or headphones for a long period of time at a high or  
uncomfortable volume level, since this can cause permanent hearing loss. If you  
experience any hearing loss or ringing in the ears, consult a physician.  
• Do not expose the device to excessive dust or vibrations, or extreme cold or heat  
(such as in direct sunlight, near a heater, or in a car during the day) to prevent the  
possibility of panel disfiguration or damage to the internal components.  
• Do not rest your weight on the device or place heavy objects on it, and avoid use  
excessive force on the buttons, switches or connectors.  
• Do not place the device in an unstable position where it might accidentally fall over.  
• Do not block the vents. This device has ventilation holes at the front and rear to  
prevent the internal temperature from becoming too high. In particular, do not  
place the device on its side or upside down. Inadequate ventilation can result in  
overheating, possibly causing damage to the device(s), or even fire.  
(5)-4  
EMX5014C Owner’s Manual  
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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 switches, volume controls, and connectors, deteriorates over time. Consult qualied Yamaha service  
personnel about replacing defective components.  
IMPORTANT NOTICE FOR THE UNITED KINGDOM  
Connecting the Plug and Cord  
WARNING: THIS APPARATUS MUST BE EARTHED  
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:  
GREEN-AND-YELLOW  
BLUE  
BROWN  
:
:
:
EARTH  
NEUTRAL  
LIVE  
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the termi-  
nals in your plug proceed as follows:  
The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by  
the safety earth symbol  
or coloured GREEN or GREEN-and-YELLOW.  
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.  
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.  
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.  
(3 wires)  
FCC INFORMATION (U.S.A.)  
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:  
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!  
This product, when installed as indicated in the instructions con-  
tained in this manual, meets FCC requirements. Modifications not  
expressly approved byYamaha may void your authority, granted by  
the FCC, to use the product.  
Relocate either this product or the device that is being affected by  
the interference.  
Utilize power outlets that are on different branch (circuit breaker or  
fuse) circuits or install AC line filter/s.  
In the case of radio or TV interference, relocate/reorient the  
antenna. If the antenna lead-in is 300 ohm ribbon lead, change the  
lead-in to co-axial type cable.  
If these corrective measures do not produce satisfactory results,  
please contact the local retailer authorized to distribute this type of  
product. If you can not locate the appropriate retailer, please con-  
tact Yamaha Corporation of America, Electronic Service Division,  
6600 Orangethorpe Ave, Buena Park, CA90620  
2. IMPORTANT:When connecting this product to accessories and/  
or another product use only high quality shielded cables. Cable/s  
supplied with this product MUST be used. Follow all installation  
instructions. Failure to follow instructions could void your FCC  
authorization to use this product in the USA.  
3. NOTE:This product has been tested and found to comply with the  
requirements listed in FCC Regulations, Part 15 for Class “B” digi-  
tal devices. Compliance with these requirements provides a rea-  
sonable level of assurance that your use of this product in a  
residential environment will not result in harmful interference with  
other electronic devices. This equipment generates/uses radio fre-  
quencies and, if not installed and used according to the instruc-  
tions found in the users manual, may cause interference harmful to  
the operation of other electronic devices. Compliance with FCC  
The above statements apply ONLY to those products distributed by  
Yamaha Corporation of America or its subsidiaries.  
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.  
(class B)  
About this Manual  
This manual is divided into two main sections, as follows.  
Mixer Basics (starts on page 7)  
Presents a general explanation of mixers and mixer concepts. Includes a Quick Guide that will help beginners get up to speed very quickly.  
Reference (starts on page 19)  
Provides detailed information about the EMX. Introduces the EMX features, identifies and explains the controls, indicators, and connec-  
tors; and explains how to set up the equipment.  
*
*
*
Within this manual, the term “EMX” refers to model EMX5014C.  
Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation.  
Company names and product names herein are trademarks or registered trademarks of their respective companies.  
Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all  
copyrights, and consult with a copyright specialist if you are in doubt about permissible use.  
Specifications and descriptions in this owner’s manual are for information purposes only.Yamaha Corp. reserves the right to change or modify products or specifications at any  
time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.  
EMX5014C Owner’s Manual  
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Thank you for your purchase of thisYamaha 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.  
Contents  
Mixer Basics  
Reference  
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Features  
Input Channels................................................................................................page 19  
The EMX offers eight monaural mic/line input channels (1 to 9/10) and four stereo  
input channel pairs (7/8 to 13/14), allowing you to freely mix inputs from micro-  
phones, line-level devices, and stereo devices. For example, you can mix six micro-  
phones with four stereo devices, or eight microphones with two stereo synthesizers.  
Phantom Power (+48V) ...................................................................................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, allow-  
ing you to create a rich range of variations with no external help. But of course you  
are also free to use the SEND EFFECT jack to connect to an external effector of  
your choice.  
Compressors...................................................................................................page 18  
Compressors on channels 1 to 6 can be used to squeeze the dynamic range of  
inputs such as microphones and acoustic guitars, attenuating the signal peak levels  
and bringing out the lower levels. This feature helps reduce distortion and allows  
overall volume to be set higher, 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 jacks and Neutrik Speakon jacks.  
Before Turning On the Mixer  
Connecting to Power  
1
2
3
Be sure that the POWER switch is in the OFF position.  
Connect the included power cord to the AC IN connector on the rear panel.  
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)  
When turning power off, proceed in the opposite order.  
EMX unit  
Amps (Powered speakers)  
• Before turning power on, make sure that the channel faders, ST master fader, AUX1/2 faders, ST SUB OUT control are all the way down.  
• Rapidly turning the unit ON and OFF in succession can cause it to malfunction. After turning the unit OFF, wait for about 10 seconds before turning it  
ON again.  
Push the POWER switch in to turn the power ON.  
The power lamp lights up to indicate that power is on. To turn the power off, push the switch again, so that it pops  
out.  
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Mixer Basics  
Quick Guide  
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.  
1
1
1
Connect up the speakers and your input devices  
(microphones, instruments, etc.).  
RIGHT  
Use non-powered speakers and dedicated speaker cable. Connect  
one speaker to SPEAKERS jack A (A1 or A2), and the other to jack B  
(B1 or B2). Then connect your input devices (microphones, guitar,  
etc.) to the appropriate input jacks on the top panel. For details, see  
• Before connecting input devices to the EMX, be sure that all of these  
devices (including microphones) are powered off. And before turning  
the power to any device on or off, be sure to turn the volume of that  
device all the way down.  
• Never connect both A and B jacks to a single speaker. Connection of  
both jacks to the same speaker may result in damage to the mixer.  
WRONG!!  
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.  
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Mixer Basics  
Quick Guide  
4
7
8
7
3
5
2,10  
9,11  
6
2
2
Turn the Channel faders and the ST Master fader all  
the way down.  
3
4
Set the POWER AMP switch to its upper position (to  
L-R).  
For information about this switch, see page 25.  
If you have connected input devices to channels 1  
to 6, set the [26dB] switch ON (  
each channel accordingly.  
) or OFF (  
) on  
If you have connected a line-level device, such as a keyboard or  
audio device, set the channel’s switch to the ON ( ). If you have  
connected a microphone or other mic-level device, set the switch to  
the OFF ( ).  
5
If you are using one or more condenser micro-  
phones for your inputs, set the PHANTOM switch to  
the ON position (  
).  
• Be sure to leave this switch off if you do not need phantom power.  
• When using phantom power, do not connect any devices other than  
condenser microphones to the XLR input jacks. Other devices may be  
damaged if connected to phantom power. This precaution does not  
apply to balanced dynamic microphones, however, as these will not be  
affected by phantom power.  
To protect your speakers and ears: Before turning the PHANTOM  
switch ON or OFF, be sure to turn off the power to the mixer and to all  
other devices having internal amplifiers. We also recommend that you  
turn all output controls (Channel faders, ST Master fader, etc.) to mini-  
mum settings before operating the switch, to avoid risk of loud noises  
that could cause hearing loss or device damage.  
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Mixer Basics  
Quick Guide  
6
7
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 device)  
ered speakers)  
EMX unit  
Amps (Pow-  
Adjust the GAIN control for each channel you are  
using so that the PEAK indicator comes on only at  
about maximum input level.  
NOTE  
To use the LEVEL meter to get an accurate reading of the incoming signal  
level: Set the ST/AFL-PFL switch to AFL-PFL(  
) and turn on the PFL  
switch for each channel you are using. Adjust the GAIN controls so that  
LEVEL meter indication occasionally rises above the “ ” (0) level. Note that  
the PHONES jack outputs the pre-faded signal from all channels whose PFL  
switch is ON, so that you can monitor these signals through the headphones.  
8
9
Turn the ON switch on.  
Set the ST Master fader to the “0” position.  
10  
Adjust the channel faders on all occupied channels.  
Adjust the faders while listening to the output from the speakers.  
NOTE  
To use the LEVEL meter to view the level being input to the internal amp:  
Set the ST/AFL-PFL switch to ST(  
).  
• Use the LIMITER lamps to check for clipping of the signal from the SPEAK-  
ERS jacks. Note that the LIMITER lamps will come on earlier than the level  
meter's PEAK indicators come on.  
11  
Adjust the overall volume of the ST Master fader.  
It is acceptable for the LIMITER lamps to flash on briefly at times, but if  
they remain lit continuously then there is risk of damage to your speakers  
or to the internal amp. Reduce the ST master fader setting so that these  
lamps do not stay on.  
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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.  
1
4
2
3,5  
1
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.  
REVERB HALL 1  
REVERB HALL 2  
REVERB ROOM 1  
REVERB ROOM 2  
5
6
7
8
REVERB STAGE 1  
REVERB STAGE 2  
REVERB PLATE  
KARAOKE ECHO  
VOCAL ECHO  
CHORUS 1  
C
D
E
F
FLANGER  
PHASER  
1
2
3
4
9
0
A
B
AUTO WAH  
DISTORTION  
DRUM AMBIENCE  
CHORUS 2  
To turn on the effector, set the EFFECT ON  
switch to its ON position ( ).  
The switch lights up when turned on. As an alternative to the ON  
switch, you can use a separately sold FC5 foot switch to toggle the  
effector on and off.  
3
4
Set the EFFECT RTN fader to the “0” position.  
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.  
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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.  
1
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.  
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Mixer Basics  
Making the Most ofYour Mixer  
An Introduction  
You’ve got yourself a mixer and now you’re ready to use it.  
Just plug everything in, twiddle the controls, and away you go … right?  
Well, if you’ve done this before you won’t have any problems, but if this is the first time  
you’ve ever used a mixer you might want to read through this little tutorial and pick up a  
few basics that will help you get better performance and make better mixes.  
A Place for Everything and Everything in its Place  
A Plethora of Connectors—What Goes Where?  
Questions you’re likely to encounter when setting up a system for the first time might include “Why all these  
different types of connectors on the back of my mixer?” and “What’s the difference?”.  
Let’s start by taking a look at the most common connector types.  
The Venerable RCA Pin Jack  
This is the “consumer connector,” and the one that has been most  
commonly used on home audio gear for many years. Also known as  
“phono” jacks (short for “phonogram”), but the term isn’t used much  
these days—besides, it’s too easily confusable with “phone” jacks,  
below. RCA pin jacks are always unbalanced, and generally carry a 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 the output of your mixer to a  
cassette recorder or similar gear.  
Sleeve  
Ring  
The Versatile Phone Jack  
Tip  
The name “phone jack” arose simply because this configuration was first  
Stereo/TRS phone plug  
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.  
Mono phone plug  
The Sturdy XLR  
This type of connector is generally referred to as “XLR-type,” and almost  
always carries a balanced signal. If the corresponding circuitry is  
designed properly, however, XLR-type connectors will also handle  
unbalanced signals with no problem. Microphone cables usually have  
this type of connector, as do the inputs and outputs of most professional  
audio gear.  
Male  
Female  
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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  
rejection, and it’s something they’re very good at. Any length of wire  
will act as an antenna to pick up the random electromagnetic  
radiation we’re constantly surrounded by: radio and TV signals as  
well as spurious electromagnetic noise generated by power lines,  
motors, electric appliances, computer monitors, and a variety of other  
sources. The longer the wire, the more noise it is likely to pick up.  
That’s why balanced lines are the best choice for long cable runs. If  
your “studio” is basically confined to your desktop and all connections  
are no more than a meter or two in length, then unbalanced lines are  
fine—unless you’re surrounded by extremely high levels of  
electromagnetic noise. Another place balanced lines are almost  
always used is in microphone cables. The reason for this is that the  
output signal from most microphones is very small, so even a tiny  
amount of noise will be relatively large, and will be amplified to an  
alarming degree in the mixer’s high-gain head amplifier.  
To summarize  
Microphones:  
Use balanced lines.  
Short line-level  
runs:  
Unbalanced lines  
are fine if you’re in a  
relatively noise-free  
environment.  
Long line-level  
runs:  
The ambient  
electromagnetic  
noise level will be  
the ultimate  
deciding factor, but  
balanced is best.  
How Do Balanced Lines Reject Noise?  
** Skip this section if technical details make you queasy. **  
Balanced lines work on the principle of “phase cancellation”: if you add two identical signals out of phase (i.e.  
one signal is inverted so its peaks coincide with the troughs in the other signal), the result is … nothing. A flat  
line. The signals cancel each other out.  
While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line  
will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is  
reversed at the receiving end of the line so that the desired audio signals become in-phase, and the induced  
noise suddenly finds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio  
signal is left intact. Clever, eh?  
Balanced noise cancellation  
Noise  
Hot (+)  
Cold (–)  
Noise-free  
signal  
Phase  
inversion  
Phase  
inversion  
Ground  
Noise cancelled  
Source  
Cable  
Receiving device  
Unbalanced noise  
Noise  
Source  
Cable  
Receiving device  
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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”  
reference against which the signal in the other conductors fluctuates.  
2) A “hot” or “+” conductor which carries the normal-phase audio signal.  
3) A “cold” or “–” conductor which carries the reverse-phase audio signal.  
Balanced  
Unbalanced  
Hot  
Cold  
Shield  
(Ground)  
Outer  
Insulation  
Signal Levels and the Decibel  
Let’s take a look at one of the most commonly used units in audio: the decibel (dB). If the smallest sound that  
can be heard by the human ear is given an arbitrary value of 1, then the loudest sound that can be heard is  
approximately 1,000,000 (one million) times louder. That’s too many digits to deal with for practical calculations,  
and so the more appropriate “decibel” (dB) unit was created for sound-related measurements. In this system  
the difference between the softest and loudest sounds that can be heard is 120 dB. This is a non-linear scale,  
and a difference of 3 dB actually results in a doubling or halving of the loudness.  
You might encounter a number of different varieties of the dB: dBu, dBV, dBM and others, but the dBu is the  
basic decibel unit. In the case of dBu, “0 dBu” is specified as a signal level of 0.775 volts. For example, if a  
microphone’s output level is –40 dBu (0.00775 V), then to raise that level to 0 dBu (0.775 V) in the mixer’s  
preamp stage requires that the signal be amplified by 100 times.  
A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output  
levels as closely as possible. In most cases the “nominal” level for a mixer’s input and outputs is marked on the  
panel or listed in the owner’s manual.  
+ 20 dBu  
Most professional mixers, power amplifiers, and other  
types of equipment have inputs and outputs with a  
nominal level of +4 dBu.  
0 dBu  
0.775 V  
The inputs and outputs on home-use audio gear  
usually have a nominal level of –10 dBu.  
-
20 dBu  
Microphone signal levels vary over a wide range  
depending on the type of microphone and the source.  
Average speech is about –30 dBu, but the twittering of  
a bird might be lower than –50 dBu while a solid bass  
drum beat might produce a level as high as 0 dBu.  
-
40 dBu  
-
60 dBu  
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Mixer Basics  
Making the Most of Your Mixer  
Making Better Mixes  
Approaching the Mix—Where DoYou Start?  
Mixing is easy, right? Just move the faders around until it sounds right? Well, you can do it that way, but a more  
systematic approach that is suited to the material you’re mixing will produce much better results, and faster.  
There are no rules, and you’ll probably end up developing a system that works best for you. But the key is to  
develop a system rather than working haphazardly. Here are a few ideas to get you started:  
Faders Down  
It might sound overly simple, but it is usually a good idea to start with all channel faders off—all the way down.  
It’s also possible to start with all faders at their nominal settings, but it’s too easy to lose perspective with this  
approach. Start with all faders down, then bring them up one by one to fill out the mix. But which channel  
should you start with?  
Example1: Vocal Ballad Backed by Piano Trio  
What are you mixing? Is it a song in which the vocals are the most  
important element?  
If so you might want to build the mix around the vocals. This means  
bringing the vocal channel up to nominal first (if your level setup  
procedure has been done properly this will be a good starting point),  
and then adding the other instruments.  
What you add next will depend on the type of material you are  
working with and your approach to it. If the vocals are backed by a  
piano trio and the song is a ballad, for example, you might want to  
bring in the piano next and get the vocal/piano relationship just right,  
then bring in the bass and drums to support the overall sound.  
Example2: Funky R&B Groove  
The approach will be totally different if you’re mixing a funky R&B  
number that centers on the groove. In this case most engineers will  
start with the drums, and then add the bass. The relationship between  
the drums and bass is extremely important to achieve the “drive” or  
groove the music rides on. Pay particular attention to how the bass  
works with the kick (bass drum).  
They should almost sound like a single instrument—with the kick  
supplying the punch and the bass supplying the pitch. Once again,  
there are no rules, but these are concepts that have been proven to  
work well.  
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Mixer Basics  
Making the Most of Your Mixer  
To EQ or Not to EQ  
In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but  
use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a  
mix and give the overall sound better definition. Bad EQ—and most commonly bad boost—just sounds terrible.  
Cut for a Cleaner Mix  
The fundamental  
and harmonic  
frequency ranges of some  
For example: cymbals have a lot of energy in  
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 difference,  
however, in the way the mix sounds more  
“spacious,” and instruments in the lower  
ranges will have better definition. Surprisingly  
enough, piano also has an incredibly powerful  
low end that can benefit from a bit of low-  
frequency roll-off to let other instruments—  
notably drums and bass—do their jobs more  
effectively. Naturally you won’t want to do this if  
the piano is playing solo.  
musical instruments.  
Cymbal  
Piano  
Bass Drum  
Snare Drum  
Bass  
Guitar  
Trombone  
Trumpet  
(
)
Hz  
20 k  
20 50 100 200  
500  
1 k 2 k 5 k  
10 k  
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.  
The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in  
the mix without compromising the character of the instruments. You’ll have to use your ears, though, because  
each instrument is different and sometimes you’ll want the “snap” of a bass guitar, for example, to come  
through.  
Some Frequency Facts  
The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz  
and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The  
frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the “A3”  
key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e.  
“A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.  
Boost with Caution  
If you’re trying to create special or unusual  
MID Flat  
MID Boost  
effects, go ahead and boost away as much as  
HIGH Boost  
LOW Boost  
LOW Flat  
you like. But if you’re just trying to achieve a  
good-sounding mix, boost only in very small  
increments. A tiny boost in the midrange can  
give vocals more presence, or a touch of high  
boost can give certain instruments more “air.”  
Listen, and if things don’t sound clear and  
clean try using cut to remove frequencies that  
are cluttering up the mix rather than trying to  
boost the mix into clarity.  
One of the biggest problems with too much  
boost is that it adds gain to the signal,  
increasing noise and potentially overloading  
the subsequent circuitry.  
HIGH Flat  
LOW Cut  
HIGH Cut  
MID Cut  
Frequency (Hz)  
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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  
washed-out mix sounds perfectly fine. To avoid  
falling into this trap start with reverb level all the way  
down, then gradually bring the reverb into the mix  
until you can just hear the difference. Any more than  
this normally becomes a “special effect.” You don’t  
want reverb to dominate the mix unless you are  
trying to create the effect of a band in a cave—which  
is a perfectly legitimate creative goal if that’s the sort  
of thing you’re aiming for.  
Your mixes can be further refined by adding  
ambience effects such as reverb or delay. On the  
EMX mixers these effects are built in. The internal  
DSP (Digital Signal Processor) can be used to add  
reverb or delay to individual channels in the same  
way as external effects processors, with the extra  
connections required by, or the loss in sound quality  
often caused by external processing. (Refer to  
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.  
The Modulation Effects: Phasing,  
Chorus, and Flanging  
All of these effects work on basically the same  
principle: a portion of the audio signal is “time-  
shifted” and then mixed back with the direct signal.  
The amount of time shift is controlled, or  
“modulated”, by an LFO (Low-frequency Oscillator).  
When we say “time shift,” however, we’re not talking  
in terms of minutes or even seconds.  
Reverb and Delay Time  
A variety of reverb and delay effect programs are  
provided, and nearly all of then have a reverb/delay  
time parameter than can be adjusted via the panel  
PARAMETER control.  
Small adjustments to the reverb/delay time can  
actually have a significant effect on the sound. The  
optimum reverb time for a piece of music will depend  
on the music’s demo and density, but as a general  
rule longer reverb times are good for ballads, while  
shorter reverb times are more suited to up-tempo  
tunes. Delay times can be adjusted to create a wide  
variety of “grooves”, and you need to select the time  
that best suits the music. When adding delay to a  
vocal, for example, try setting the delay time to  
dotted eighth notes corresponding to the tune’s  
tempo.  
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
Reverb Tone  
thousandth of a second), with the delay time  
modulated by an LFO, and recombined with the  
direct signal. In addition to the comb-filter effect  
described above, the delay modulation in these  
effects causes a perceived pitch shift which, when  
mixed with the direct signal, results in a harmonically  
rich swirling or swishing sound. The difference  
between chorus and flanging effects is primarily in  
the amount of delay time and feedback used –  
flanging uses longer delay times than chorus,  
whereas chorus generally uses a more complex  
delay structure. Chorus is most often used to thicken  
the sound of an instrument, while flanging is usually  
used as an outright “special effect” to produce other-  
worldly sonic swoops.  
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.  
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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, or simply to even out level differences.  
Compression can be used to make a mix seem  
(Max)  
bigger and louder by producing a more “saturated”  
sound. Professional compressors have numerous  
parameters that need to be carefully adjusted:  
attack, release, threshold, level, and sometimes  
more. A professional sound engineer might need  
to spend a considerable amount of time, based on  
a considerable amount of experience, to set each  
of these parameters to achieve the desired sound.  
INPUT  
The EMX compressor makes achieving great  
sound much easier. All you need to do is set a  
single “compression” control and all of the pertinent  
parameters are automatically adjusted for you.  
The engineers who designed this fine compressor paid careful attention to achieving the best sound quality  
possible so that you can quickly achieve pro-quality compression without having to worry about a confusing  
multitude of settings.  
A common example of the use of compression is to “tame” a vocal that has a wide dynamic range in order to  
tighten up the mix. With the right amount of compression you’ll be able to clearly hear whispered passages  
while passionate shouts are still well balanced in the mix. Compression can also be valuable on bass guitar,  
producing a smooth bass sound that stays solid through the tune. Compression can also be applied to guitar  
tracks to add extra sustain. Too much compression can be a cause of feedback, however, so use it sparingly.  
Music First—Then Mix  
In any case, the music comes first. Think about the music and let it guide the mix, rather than trying to do things  
the other way around. What is the music saying and what instrument or technique is being used to drive the  
message? That’s where the focus of your mix should be. You’re using a high-tech tool to do the mixing, but the  
mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music.  
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Reference  
Front & Rear Panels  
1 INPUT A and INPUT B jacks (Channels 1  
Controls on Each Channel  
to 6)  
You can connect an input source to either jack. Be sure  
to set the [26 dB] switch 4 to match the type of device  
you are connecting.  
Channels  
1 to 6  
Channels  
7/8 and 9/10  
(Stereo)  
Channels  
11/12 and 13/14  
(Stereo)  
(Monaural)  
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 \ to its ON position.  
1
Cold (–)  
2
Ground  
Hot (+)  
INPUT B: A TRS phone-type balanced line input  
jack (T: hot, R: cold, S: ground). Accepts  
both balanced and unbalanced line input.  
R: Cold (–)  
S: Ground  
T: Hot (+)  
When using phantom power, do not connect any  
devices other than condenser microphones to the  
XLR input jacks. Other devices may be damaged if  
connected to phantom power. This precaution does  
not apply to balanced dynamic microphones, how-  
ever, as these will not be affected by phantom power.  
NOTE  
On any given channel, you may use either INPUT A  
or 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 input  
jack. If you are connecting a condenser  
microphone, be sure to turn the PHAN-  
TOM switch \ to its ON position.  
When using phantom power, do not connect any  
devices other than condenser microphones to the  
XLR input jacks. Other devices may be damaged if  
connected to phantom power. This precaution does  
not apply to balanced dynamic microphones, how-  
ever, as these will not be affected by phantom power.  
NOTE  
If you wish, you may use the channel pair’s LINE and  
MIC jacks together at the same time. But note that the  
levels cannot be adjusted independently.  
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Reference  
Front & Rear Panels  
3 INSERT I/O Jack (Channels 1 to 6)  
Each of these jacks is positioned between the equalizer  
and fader of the corresponding input channel (1 to 6).  
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.  
Channels  
1 to 6  
(Monaural)  
Channels  
7/8 and 9/10  
(Stereo)  
Channels  
11/12 and 13/14  
(Stereo)  
NOTE  
Connection to an INSERT I/O jack requires a special  
separately-sold insertion cable—such as the Yamaha  
YIC025, YIC050, or YIC070—as shown below.  
To the input jack of the  
external processor  
3
4
Tip:OUT  
Tip:IN  
To the INSERT I/O jack  
Sleeve (Ground)  
SevGrud
5
6
7
5
8
5
Ring :IN  
Tip:OUT  
To the output jack of the  
external processor  
8
4 [26 dB] Switch (Channels 1 to 6)  
Pressing this button turns on the attenuator for each  
channel, attenuating the input signal level by 26 dB.  
If you have connected a line-level device, such as a  
keyboard or audio device, set the channel’s switch to  
ON (  
). If you have connected a microphone or  
9
other mic-level device, set the switch to OFF (  
).  
5 GAIN Control  
Adjusts the gain applied to the input signal level. To  
get the best balance between the S/N ratio and the  
dynamic range, adjust the gain so that the PEAK indi-  
cator 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.  
0
A
B
A
B
A
B
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 not apply this HPF to the line  
inputs of stereo input channels.)  
C
C
C
D
E
D
E
D
E
F
G
F
G
F
G
7 COMP knob (Channels 1 to 6)  
This knob adjusts the level of compression applied to  
the channel. As the knob is turned to the right, the  
mixer automatically raises the compression ratio while  
adjusting the output gain accordingly. The result is a  
narrower, more even dynamic range, as louder signals  
are softened while the overall level is boosted. Avoid  
setting the knob too high, however, as excess compres-  
sion may lead to howling.  
H
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Reference  
Front & Rear Panels  
feeds the pre-fader signal to the bus. If off, the mixer  
feeds the post-fader signal.  
8 FCL (Feedback Channel Locating) lamp  
(Channels 1 to 9/10)  
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  
channel’s equalizer 9 or channel fader H to reduce  
the level so that the lamp goes off.  
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.  
NOTE  
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.  
NOTE  
The level into the EFFECT bus is affected by the set-  
9 Equalizer (HIGH, MID, and LOW)  
ting of the channel’s fader H.  
This three-band equalizer adjusts the channel’s high,  
mid, and low frequency bands. Setting the knob to the  
“ ” position produces a flat frequency response for the  
corresponding frequency band. Turning the knob to the  
right boosts the corresponding frequency band, while  
turning to the left attenuates the band.  
C PAN Control (Channels 1 to 6); BAL Con-  
trol (Channels 7/8 to 13/14)  
The PAN control determines the positioning of the  
channel’s signal on the Stereo L and R buses.  
The BAL control sets the balance between left and  
right channels. Signals into the L input (odd channel)  
feed to the Stereo L bus; signals into the R input (even  
channel) feed to the Stereo R bus.  
On channels 1 to 6, the MID range is controlled by two  
knobs. The upper knob sets the center frequency for  
the mid range, while the lower knob sets the attenua-  
tion (counterclockwise) or boost (clockwise) for the  
range. (Again, setting the lower knob to “ ” produces  
a flat response.) On stereo channel pairs 7/8 to 13/14  
the mid-range frequency is fixed at 2.5kHz, so only  
one MID knob is provided.  
NOTE  
If you are inputting to a stereo channel through the L  
(MONO) jack only, the BAL knob operates as a PAN  
knob.  
D ON Switch  
Switches the channel on or off. (The indicator lights up  
if the channel is on.) Be sure to turn on all the channels  
that you wish to use. If you switch the channel off, you  
cut off all of its signal feed into the Stereo, AUX, and  
EFFECT buses.  
The following table shows the equalization type, the  
base frequency, and the maximum cut/boost for each  
of the three bands.  
Maximum  
Cut/Boost  
Band  
Type  
Base Frequency  
NOTE  
To reduce noise, turn off all unused channels.  
HIGH  
Shelving  
10 kHz  
E PEAK Indicator  
250 Hz to 5 kHz variable  
(CHs 1 to 6)  
2.5 kHz (CHs 7/8 to 13/14)  
Detects the peak level of the post-equalizer signal, and  
lights up red when the level reaches 3 dB below the  
clipping level.  
MID  
Peaking  
Shelving  
15 dB  
LOW  
100 Hz  
F SIGNAL Indicator  
0 AUX Controls  
Lights up when a signal is being input into the channel.  
• AUX1 (PRE)  
This knob adjusts the channel’s signal level into the  
AUX1 bus. The knob should generally be set close to  
the “ ” position. On stereo channels, the L (odd) and  
R (even) input signals are mixed before moving into  
the AUX bus.  
G PFL (Pre-Fader Listen) Switch  
Set this switch on to feed the channel’s pre-fader signal  
into the PFL bus, so that it can be monitored at the  
PHONES jack. To set the switch on, press it in so that  
it lights up.  
NOTE  
The channel faders do not operate on signals sent to  
the AUX1 bus.  
NOTE  
• PFL switching and output are not affected by the  
ON switch. You can monitor the channel’s  
pre-fader signal through the PHONES jack even  
when the ON switch is set off.  
• AUX2 (PRE/POST)  
This knob adjusts the channel’s signal level into the  
AUX2 bus. The knob should generally be set close to  
the “ ” position. Note that you can use the PRE  
switch A to choose whether to feed the pre-fader or  
post-fader signal into the AUX2 bus. On stereo chan-  
nels, the L (odd) and R (even) input signals are mixed  
before moving into the AUX2 bus.  
• 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 switch is ON, the chan-  
nel’s output is mixed into the monitor signal to the  
PHONES jack. If both switches are OFF, the chan-  
nel output is not fed to the PHONES jack.  
NOTE  
If the PRE switch is on, the channel’s fader will not  
have any effect on the signal into the AUX2 bus.  
H Channel Fader  
Adjusts the signal’s output level. Use these faders to  
adjust the volume balance among the various channels.  
A PRE Switch  
NOTE  
To reduce noise, set the fader sliders for unused chan-  
nels all the way down.  
Selects whether the pre-fader or the post-fader signal is  
fed to the AUX2 bus. If the switch is on, the mixer  
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Reference  
Front & Rear Panels  
I SEND Jack  
Digital Effects Section  
EFF  
This unbalanced phone output jack outputs the signal  
from the EFFECT bus. You use this jack, for example,  
to connect to an external effector. You can then return  
the signal by connecting the external effector to any of  
the LINE jacks on channel pairs 7/8 to 13/14.  
If you are returning a signal from an external effector  
into a LINE jack on any channel pair 7/8 to 13/14,  
please be sure to turn the EFFECT knob for that  
channel pair to “0”.  
I
• AUX1, AUX2  
These unbalanced phone jack outputs monaural moni-  
tor signals from the AUX1 and AUX2 buses, respec-  
tively. You use these jacks, for example, to connect to  
an effector or to a cue box or other such monitoring  
system.  
J PROGRAM Dial  
Selects the type of effect to be used. You can select  
from 16 different effect types, as follows.  
No.  
1
2
3
4
5
6
7
8
9
0
A
B
C
D
E
F
Program  
REVERB HALL 1  
REVERB HALL 2  
REVERB ROOM 1  
REVERB ROOM 2  
REVERB STAGE 1  
REVERB STAGE 2  
REVERB PLATE  
DRUM AMBIENCE  
KARAOKE ECHO  
VOCAL ECHO  
CHORUS 1  
Parameter  
REVERB TIME  
REVERB TIME  
REVERB TIME  
REVERB TIME  
REVERB TIME  
REVERB TIME  
REVERB TIME  
REVERB TIME  
DELAY TIME  
DELAY TIME  
LFO FREQ  
J
K
L
M
N
CHORUS 2  
LFO FREQ  
FLANGER  
LFO FREQ  
PHASER  
LFO FREQ  
AUTO WAH  
LFO FREQ  
DISTORTION  
DRIVE  
K PARAMETER Control  
O
Adjusts the parameter (depth, speed, etc.) associated  
with the selected effect type.  
NOTE  
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.  
L AUX1/2 Controls  
Each knob adjusts the level of the effected sound into  
the corresponding AUX1 and AUX2 buses.  
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Reference  
Front & Rear Panels  
M EFFECT ON Switch/Indicator  
Switches use of the internal effect on or off. The inter-  
nal effect is applied only if this switch is turned on. To  
set the switch on, press it in so that it lights up.  
As an alternative to the ON switch, you can use a sepa-  
rately sold FC5 foot switch to toggle the effector on  
and off.  
NOTE  
The internal effector is automatically turned on  
whenever you switch on the mixer’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.  
NOTE  
• 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 switch is ON, the chan-  
nel’s output is mixed into the monitor signal to the  
PHONES jack. If both switches are OFF, the chan-  
nel output is not fed to the PHONES jack.  
O EFFECT RTN Fader  
Adjusts the level of the effected sound into the Stereo  
bus.  
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Reference  
Front & Rear Panels  
P REC OUT Jacks  
Master Section  
These RCA pin-type unbalanced output jacks can be  
used to send the main stereo signal to an external DAT  
recorder or cassette recorder. The jacks output the ste-  
reo signal pre adjustment by the ST master fader g  
and graphic equalizer V. As the signal is not adjusted  
by these controls, please be sure to make appropriate  
level adjustments at the external recording device side.  
P
Q
R
S
T
Q EFF ON/OFF Jack  
This phone input jack is for connection to a separately  
sold FC5 foot switch. The foot switch can be used as  
an alternative to the ON switch to toggle the effector  
on and off.  
R ST SUB OUT Jacks  
These unbalanced phone jacks output the mixed stereo  
signal (L and R), where the level is adjusted by the  
Master Control section’s ST SUB OUT c control. You  
would typically use these jacks to connect to an exter-  
nal mixer or a supplementary SR system.  
U
V
S ST OUT Jacks  
These unbalanced phone jacks output the mixed stereo  
signal (L and R), where the level is adjusted by the ST  
master fader g. You would typically connect these  
jacks to a power amp or powered speakers.  
W
[
X
T PHONES Jack  
Y
Z
Connector for headphones. This is a balanced stereo  
phone-type output jack.  
`
a
\
U POWER Indicator  
The indicator lights up when the POWER switch i is  
on.  
V Graphic Equalizer  
]
b
c
This 9-band graphic equalizer adjusts the frequency  
characteristics of the stereo-bus signal output at the ST  
OUT jacks S, ST SUB OUT jacks R, and SPEAK-  
ERS jacks h. Each band can be adjusted by 12 dB.  
The base frequencies for the bands are: 63, 125, 250,  
500, 1k, 2k, 4k, 8k and 16k Hz.  
W GEQ ON Switch  
This switch toggles the graphic equalizer on or off.  
The switch is illuminated when on.  
X LIMITER Indicator  
The lamp lights up when the amplified signal output at  
the SPEAKERS jacks hits its maximum value.  
The lamp indicates that the limiter has come on. If  
the lamps are flashing frequently, the load on the  
amp is too high and there is risk of damage to your  
equipment. Reduce the setting of the ST master fader  
g or the AUX1 or AUX2 fader f until the lamps  
flash only briefly or not at all.  
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Reference  
Front & Rear Panels  
To avoid damage to speakers, be sure to turn off  
Y Maximum Output Switch  
the power to the EMX itself and to any other  
power amplifiers and power speakers before  
switching phantom power on or off. We also rec-  
ommend that you turn all output controls (channel  
faders, ST Master fader, AUX1/2 faders, etc.) to  
minimum settings before operating the switch, to  
avoid risk of loud noises that could cause hearing  
loss or device damage.  
This selector lets you set the maximum output from for  
the 2-channel internal amp to any of three levels. Set  
this to match the size of your room or the input capac-  
ity of your speakers.  
500W: Maximum 500W + 500W/4 ohms.  
200W: Maximum 200W + 200W/4 ohms.  
75W:  
Maximum 75W + 75W/4 ohms  
] STANDBY Switch  
Z POWER AMP Switch  
This switch mutes the input to channels 1 to 6. The  
switch lights up to indicate that the mute has been  
turned on. Note that the mute does not work on chan-  
nels 7/8 to 13/14.  
Selects the output that gets sent to the SPEAKERS  
jacks, as follows.  
L/R:  
SPEAKERS jacks A1 and A2 output the signal from  
the Stereo L bus, while jacks B1 and B2 output the sig-  
nal from the Stereo R bus. The overall volume is  
adjusted by the ST master fader.  
NOTE When using the mixer for live performances, you can  
fill in gaps in the performance by turning on the  
standby switch and feeding background music from a  
CD player or other such device into channels 7/8 to  
13/14.  
AUX1/MONO:  
SPEAKERS jacks A1 and A2 output the signal from  
the AUX 1 bus; the volume for this signal can be  
adjusted using the AUX1 fader. SPEAKERS jacks B1  
and B2 output the mix of the signals on the Stereo L  
and R buses; the volume can be adjusted with the ST  
master fader.  
^ LEVEL Meters  
If the ST/AFL-PFL switch a is set to ST, these meters  
show the L and R levels of the signal output from the  
ST OUT jacks S. If the ST/AFL-PFL switch is set to  
AFL-PFL, the meters show the levels output from the  
PHONES jack T.  
AUX1/AUX2:  
SPEAKERS jacks A1 and A2 output the signal from  
the AUX 1 bus, while jacks B1 and B2 output the sig-  
nal from the AUX2 bus. Volumes can be adjusted using  
the AUX1 and AUX2 faders, respectively.  
NOTE Note that the signal output to the ST OUT jacks is  
also passed through the internal amplifier and then  
output at the SPEAKERS jacks h. Keep an eye on  
the LIMITER lamps X to ensure that the level at the  
SPEAKERS jacks does not stay too high.  
[ YS Processing Switch  
a ST/AFL-PFL Switch  
This switch turns Yamaha Speaker Processing on or  
off. The processor adjusts the speaker’s bass ranges so  
as to compensate, for example, for a lack of subwoof-  
ers. Note however that the resulting frequency balance  
may vary according to the speakers you are using.  
If the switch is set to AFL-PFL (  
meters show the level of the output at the PHONES  
jack prior to adjustment by the PHONES control. If the  
switch is set to ST (  
output at the ST OUT jacks following adjustment by  
the ST master fader.  
), the LEVEL  
), the meters show the level  
\ PHANTOM Switch and Indicator  
NOTE The PFL (G, N, d) and AFL e switches select the  
This switch toggles phantom power on and off. The  
indicator lights up when the setting is on. If you set the  
switch on, the mixer supplies power to the XLR mic  
input jacks on all channels (the INPUT B jacks on  
channels 1 to 6, and the MIC jacks on channel pairs  
7/8 to 9/10). Set this switch on when using one or more  
condenser microphones.  
mix to be monitored at the PHONES jack.  
b PHONES Control  
Controls the level of the signal output to the PHONES  
jack.  
c ST SUB OUT Control  
NOTE When the switch is on, the mixer supplies DC +48V  
Adjusts the signal level to the ST SUB OUT jacks.  
power to pins 2 and 3 of all XLR input jacks.  
NOTE Has no effect on the output from the ST OUT and  
SPEAKERS jacks.  
Be sure to leave this switch off if you do not need  
phantom power.  
When using phantom power, do not connect any  
devices other than condenser microphones to the  
XLR input jacks. Other devices may be damaged  
if connected to phantom power. This precaution  
does not apply to balanced dynamic microphones,  
however, as these will not be affected by phantom  
power.  
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Reference  
Front & Rear Panels  
d PFL (Pre-Fader Listen) Switch  
Set this switch on if you want to monitor the pre-fade  
of the signal that is being output at the ST OUT or ST  
SUB OUT jacks. If the switch is on, the signal (prior to  
adjustment by the ST master fader and ST SUB con-  
trol) is fed to the PFL bus so that it can be monitored at  
the PHONES jack.  
NOTE • The signal level into the PFL bus is not affected by  
the settings of the ST master fader and ST SUB  
OUT Control.  
• The PFL (G, N, d) and AFL e switches select  
the mix to be monitored at the PHONES jack. If  
the channel’s PFL or AFL switch is ON, the chan-  
nel’s output is mixed into the monitor signal to the  
PHONES jack.  
e AFL (After-Fader Listen) Switches  
Set this relevant switch on if you want to monitor the  
post-fade of the signal that is being output at the ST  
OUT or the SEND AUX1 or SEND AUX2 jack. If the  
switch is on, the signal (following adjustment by the  
ST master fader or AUX1 or AUX2 fader) is fed to the  
AFL bus so that it can be monitored at the PHONES  
jack.  
NOTE • The signal levels into the AFL bus are not affected  
by the settings of the ST master fader or the  
AUX1/2 fader settings.  
• The PFL (G, N, d) and AFL e switches select  
the mix to be monitored at the PHONES jack. If  
the channel’s PFL or AFL switch is ON, the chan-  
nel’s output is mixed into the monitor signal to the  
PHONES jack.  
f AUX1 and AUX2 Faders  
The AUX1 fader adjusts the level of the output from  
the SPEAKERS A jacks h or the SEND AUX1 jack  
I. The AUX2 fader adjusts the level of the output  
from the SPEAKERS B jacks h or the SEND AUX2  
jack I.  
d
e
g ST Master Fader  
Adjusts the level to the SPEAKERS jacks h or ST  
OUT jacks S.  
NOTE  
• Does not affect the level of the output from the ST  
SUB OUT jacks.  
f
g
• The signal to the SPEAKERS jacks is determined  
by the setting of the POWER AMP switch Z.  
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Reference  
Front & Rear Panels  
Rear Panel  
h
k
j i  
h SPEAKERS jacks  
j AC IN Connector  
Use these jacks to connect to speakers. Note that the  
output directed to these jacks varies according to the  
setting of the POWER AMP switch Y.  
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.  
A1, B1: NEUTRIK NL4 Speakon outputs. Polarities  
are as shown below.  
k Ground Screw  
Neutrik Plug A1 and B1 Connectors  
1-  
1+  
For maximum safety be sure to securely connect the  
EMX to an earth connection. The supplied power cable  
has a three-prong plug that will ground the unit when  
the plug is inserted into an appropriately grounded  
three-prong type AC mains outlet. If the AC outlet is  
not grounded, be sure to ground the unit by using this  
ground screw. Correct grounding will effectively elim-  
inate hum noise and interference.  
+
1+  
1–  
2+  
2–  
2+  
2-  
A2, B2: Phone output jacks.  
i POWER Switch  
This switch turns the EMX power ON and OFF. The  
POWER indicator U lights up when this switch is on.  
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.  
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Reference  
Speaker Connections  
When making 2-channel and 2-channel parallel connections to the SPEAKERS jacks, be sure that the impedance of your  
speakers meets the conditions indicated below. Note that actual speaker impedance varies according to the connection  
method and the number of speakers.  
When making connections, be sure that your cables have the appropriate ratings and the correct plugs.  
Be sure to use dedicated speaker cables when connecting speakers to the SPEAKERS jacks.  
2-channel connection  
When connecting by 2-channel connection, use speakers with impedance of 4 ohms to 8 ohms.  
4– 8Ω  
4– 8Ω  
2-channel parallel connection  
When connecting speakers in parallel as shown below, use speakers with impedance of 8 ohms to 16 ohms.  
8– 16Ω  
8– 16Ω  
8– 16Ω  
8– 16Ω  
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Reference  
Rack Mounting  
Rack Mounting  
To prepare the unit for rack mounting, use the (separately sold) RK5014 rack mount kit.  
If rack-mounting the unit, be sure to maintain adequate ventilation so the unit does not overheat. Consider attaching a vent  
panel, and do not use a sealed rack.  
NOTE  
The EMX unit requires 12U of rack space.  
How to install the rack-mount hardware  
RK5014 Rack Mount Kit  
Use a screwdriver to remove the screws from the  
1
EMX unit.  
Set the kit’s two metal fittings into position, and  
screw them in using the screws (silver) included in  
the RK5014.  
2
Do not use the screws (black) you just removed from  
the EMX unit.  
Mount the unit into the rack, and fasten it into place.  
3
Do not install the mixer near power amps or other  
heat-generating devices.  
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Reference  
Setup  
Top panel  
NOTE  
In most cases it is sufficient to connect speakers  
to the SPEAKERS jacks on the unit’s rear panel.  
If you want even more output, however, you can  
get it by connecting a power amp to the ST OUT,  
ST SUB OUT, or AUX 1/2 jacks, and then con-  
necting speakers to the power amp.  
Synthesizer  
ASSIGN  
A
ASSIGN  
B
ASSIGN  
1
ASSIGN  
2
PAN  
/
SEND  
P
A
N
REVERB  
RESONANCE  
GATE TIME  
CHORUS  
TEMPO  
R
E
M
O
T
E
ARPEGGIO  
n
g
u
g
-
i
n
S
y
s
t
e
m
e
a
l
x
t
e
r
n
a
l
C
o
n
t
r
o
l
S
u
r
f
a
c
e
ASSIGN  
CUTOFF  
A
T
T
A
C
K
RELEASE  
O
N
/
O
F
F
R
G
-
-
AUDIO  
I
D
I
O
N
/
OFF  
I
ntegrated  
MUSIC PRODUCTION SYNTHESIZER  
S
ampl  
i
S
equence  
r
/
Modular  
S
ynthes  
i
s
P
l
/
R
-
t
i
m
e
E
S
W
I
N
G
VELOCITY  
UNITMULTIPLY  
PRE  
PRE  
1
5
PRE  
PRE  
2
6
PRE  
3
PRE  
4
TONE  
KNOB  
CONTROL  
FUNCTION  
E
F
F
E
C
T
MODE  
Ê
A
R
P
F
X
SLOT  
1
SLOT  
2
SLOT  
3
B
Y
P
A
S
S
MASTER  
EFFECT  
CATEGORY  
SEARCH  
P
E
R
F
O
R
M
M
A
S
T
E
R
K
N
1
K
N
2
K
N
3
K
4
I
N
S
E
R
T
I
O
N
S
Y
S
T
E
M
VOICE  
D
R
U
M
K
I
T
E
S
S
USER  
1
USER  
2
G
M
PLG  
1
PLG  
2
PLG  
3
BANK  
LOW  
L
O
W
M
I
D
H
I
G
H
M
I
D
HIGH  
EQ  
VOLUME  
1
VOLUME  
2
VOLUME  
3
VOLUME  
4
F
A
V
O
R
I
T
A
.
PIAN  
K
EBA  
R
N
GUITAR
LUCKED  
B
S
S
T
N
S
B
R
A
S
S
RED/IE  
P
SEQUENCER  
SONG  
PATTERN  
MIXING  
JOB  
FILE  
A
B
C
D
E
F
G
H
SECTION  
GROUP  
S
E
Q
T
R
A
N
S
P
O
R
T
D
E
C
/
N
O
INC  
/
YES  
S
Y
N
L
EAD  
S
Y
A
/
SN  
CM
3
C
H
R
O
M
A
T
I
C
R/  
PERCUSSION  
S
E
M
U
S
I
C
A
L
F
X
CB
8
DEMO  
C
H
O
I
R
P
E
R
C
U
S
S
I
O
N
I
N
T
E
G
R
A
T
E
D
TRACK  
SAMPLING  
UTILITY  
1
2
4
5
6
7
SELECT  
SCENE  
SF1  
SF2  
SF  
3
SF  
4
SF  
5
INFORMATION  
L
O
C
A
T
E
1
2
COMMON  
E
L
E
M
E
N
T
/
P
E
R
F
.
P
A
R
T
/
Z
O
N
E
NUMBER  
EDIT  
STORE  
F
1
F
2
F
3
F
4
F
5
F
6
EXIT  
ENTER  
9
1
0
1
1
1
2
1
3
1
4
1
5
1
6
MUTE  
COM  
P
A
R
E
CEE  
STRE  
EXECUTE  
SOLO  
S
E
T
LOCATE  
OCTAVE  
D
O
W
N
U
P
MASTER  
VOLUME  
CS  
1
C
S
2
C
S
3
C
S
4
ZONE  
1
ZONE  
2
ZONE  
3
ZONE  
4
Monitor  
Speakers  
Guitar  
Recorder  
Foot Switch  
Headphones  
(YAMAHA FC5)  
CD Player  
DI  
Bass  
Effect processor  
(delay)  
Microphones  
Microphones  
Power Amp  
Power Amp  
Effect processor  
(exciter)  
Drums  
Subwoofer  
Speakers  
Rear Panel  
EMX Installation  
Exhaust  
At least  
30 cm  
Intake  
Vents are located on the front and rear of the EMX  
unit. Position the unit so that the vents are not  
blocked by nearby walls or objects.  
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Reference  
Troubleshooting  
Be sure that you are using the supplied power cord, and that it is correctly  
Power doesn’t come  
connected to the AC IN connector and plugged into a working power out-  
let.  
on.  
Check whether the vents at the front and rear of the unit are blocked.  
The EMX unit may overheat if the vents are blocked. If the unit overheats,  
the power may automatically go off. Wait for the unit to cool down, and  
then turn the power back on.  
Power suddenly went  
off.  
Check whether the vents at the front and rear of the unit are blocked.  
The EMX unit may overheat if the vents are blocked. If the unit overheats,  
it may cut off the output to the internal amp until things cool down.  
Sound suddenly  
stopped.  
Are microphones, external devices, and speakers connected correctly?  
Are the GAIN controls, channel faders, ST master fader, and AUX1/2 fad-  
ers set to appropriate levels?  
No sound.  
Is the POWER AMP switch set correctly?  
When outputting a stereo signal, set it to the L/R position.  
Check that the speaker cables are not shorted.  
If the above checks do not identify the problem, call Yamaha for service.  
(Refer to page 36 for a list of Yamaha dealers.)  
Are the GAIN controls, channel faders, ST master fader, and AUX1/2 fad-  
ers set to appropriate levels?  
Check that the [26 dB] switches on channels 1 to 6 are set correctly.  
On channels 1 to 6, be sure that you have not connected to both INPUT A  
and INPUT B. (On each of these channels you may use one input or the  
other, but not both.)  
Sound is faint, dis-  
torted, or noisy.  
Is the input signal from the connected device set to an appropriate level?  
You may be applying excessive digital effect. Check your effect settings.  
Input of a continuous sound (from a CD player or other such source) may  
An FCL lamp lights up  
even though there is  
no howling on the  
channel.  
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.  
Check that the EFFECT RTN fader is correctly adjusted.  
No effect is applied.  
Try turning on the YS Processing switch.  
Adjust the equalizers (HIGH, MID, and LOW knobs) on each channel.  
Adjust the graphic equalizers.  
The sound from the  
speakers seems dull.  
I want a more forceful  
sound.  
Be sure that the YS Processing switch is turned off.  
Adjusting the equalizers (HIGH, MID, and LOW knobs) on each channel.  
Adjusting the graphic equalizers.  
I want spoken words  
to be heard more  
clearly.  
Check that the  
switches (high pass filters) for the relevant channels  
are turned ON as appropriate.  
Connected a powered speaker to the AUX1/2 jacks. Then adjust the  
AUX1/2 signal by adjusting the channel AUX1/2 controls and the AUX1  
and AUX2 faders.  
If you want to send the monitor signal to SPEAKERS A jack, set the  
POWER AMP switch to the AUX1/MONO position. (Note that in this case  
the A jack will output the monitor signal, and the B jack will output a mix of  
the stereo L and R signals.)  
I want to output a mon-  
itor signal through  
speakers.  
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Reference  
Specifications  
General Specifications  
MIN  
500  
TYP MAX UNIT  
<
Maximum Output Power  
(SPEAKERS)  
(RL=4 ohms) Both ch drive, 1kHz, THD+N 0.5%  
=
(RL=8 ohms)  
350  
(US,AU)  
320  
W
(EU)  
(ST, ST SUB, AUX, EFFECT) +14dBu output into 600 ohms  
(REC) 0 dBV output into 10 kohms  
0.3  
0.5  
1.0  
1.0  
%
%
Total Harmonic Distortion  
(THD+N) 20 Hz-20 kHz  
Frequency Response  
(ST, ST SUB, AUX, EFFECT)  
(SPEAKERS)  
–3.0  
–3.0  
0.0  
0.0  
dB  
dB  
GAIN at minimum level, PAD=OFF, 20Hz-20kHz,  
nominal output level @ 1kHz  
EIN=Equivalent Input Noise  
Residual Output Noise  
(ST OUT) GAIN at maximum level, 20Hz-20kHz  
(SPEAKERS)  
(ST, ST SUB, AUX)  
–128 dBu  
–68 dBu  
–95 dBu  
Crosstalk @ 1kHz  
adjacent inputs  
–68  
–68  
dB  
dB  
input to output  
Maximum Voltage Gain  
@1kHz  
CH MIC INPUT SPEAKERS  
CH MIC INPUT ST OUT  
CH MIC INPUT AUX SEND (PRE), ST SUB  
CH MIC INPUT AUX SEND (POST)  
CH MIC INPUT EFFECT SEND  
CH MIC INPUT REC OUT  
ST CH 11/12,13/14 ST OUT  
109  
84  
dB  
dB  
80  
dB  
90  
dB  
78  
dB  
62.2  
58  
dB  
dB  
Phantom Voltage  
(CHs 1-6, 7/8, 9/10) No load  
48  
V DC  
Output impedance of signal generator: 150 ohms  
Monaural/Stereo channel  
Equalizer  
15 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 lights if post-EQ signal (on ST channels, if either  
post-EQ signal or post-mic-amp signal) reaches –10 dB.  
FCL Indicator  
LEVEL meter  
Input signal level: –75dB  
(ST, PFL/AFL) Two 12-points LED level meter (PEAK, +5, +3, +1,0, –1, –3, –5, –7, –10, –15,  
–20 dB)  
PEAK lights if the signal comes within 3 dB of the clipping level.  
Graphic Equalizer  
(ST OUT) 9 band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16 kHz) 12 dB (Maximum Variation)  
16 programs, Parameter control  
Internal Digital Effect  
Foot Switch (Internal Effect ON/OFF)  
Power Amplifier Protection  
POWER Switch on/off mute  
DC-fault: power supply shutdown/manual reset  
>
Thermal/heatsink temp 90˚C: output mute/auto reset  
=
<
Vl limiter /RL 2 ohms  
=
>
Clip limiter/THD 1 % , Indicator × 2  
=
>
Power Supply Protection  
Cooling  
Thermal/heatsink temp 100˚C: power supply shutdown/manual reset  
=
Dual variable-speed fan  
MIN  
TYP MAX UNIT  
Power Consumption  
AC Cord  
500  
2500  
155  
W
Length  
Height  
Depth  
Width  
mm  
mm  
mm  
mm  
kg  
Dimensions  
493  
444  
Weight  
10.5  
* These specifications apply to rated power supplies of 120V, 230V and 240V.  
EMX5014C Owner’s Manual  
32  
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Reference  
Specifications  
Input Characteristics  
Input Level  
Nominal  
Actual  
Load  
Impedance  
For Use with  
Nominal  
Input Terminals  
PAD  
GAIN  
Connector  
Max. before  
Clip  
Sensitivity *2  
CH INPUT A  
1-6  
–80 dBu  
(0.078 mV)  
–60 dBu  
(0.775 mV)  
–40 dBu  
(7.75 mV)  
–60 dB  
–16 dB  
–34 dB  
+10 dB  
–60 dB  
–16 dB  
–34 dB  
+10 dB  
–60 dB  
–16 dB  
–34 dB  
+10 dB  
–34 dB  
+10 dB  
0 dB  
–36 dBu  
(12.3 mV)  
–16 dBu  
(123 mV)  
+4 dBu  
(1.23 V)  
3 kohms  
50-600 ohms Mics  
XLR-3-31 type *3  
–54 dBu  
(1.55 mV)  
–34 dBu  
(15.5 mV)  
–14 dBu  
(155 mV)  
26 dB  
0 dB  
26 dB  
–10 dBu  
(245 mV)  
+10 dBu  
(2.45 V)  
+30 dBu  
(24.5 V)  
CH INPUT B  
1-6  
–80 dBu  
(0.078 mV)  
–60 dBu  
(0.775 mV)  
–40 dBu  
(7.75 mV)  
–36 dBu  
(12.3 mV)  
–16 dBu  
(123 mV)  
+4 dBu  
(1.23 V)  
10 kohms  
600 ohms Lines  
Phone Jack *4  
–54 dBu  
(1.55 mV)  
–34 dBu  
(15.5 mV)  
–14 dBu  
(155 mV)  
–10 dBu  
(245 mV)  
+10 dBu  
(2.45 V)  
+30 dBu  
(24.5 V)  
ST CH INPUT B  
7/8-9/10  
–80 dBu  
(0.078 mV)  
–60 dBu  
(0.775 mV)  
–40 dBu  
(7.75 mV)  
3 kohms  
50-600 ohms Mics  
600 ohms Lines  
XLR-3-31 type *3  
Phone Jack *5  
–36 dBu  
(12.3 mV)  
–16 dBu  
(123 mV)  
–10 dBu  
(245 mV)  
–54 dBu  
(1.55 mV)  
–34 dBu  
(15.5 mV)  
–14 dBu  
(155 mV)  
10 kohms  
–10 dBu  
(245 mV)  
+10 dBu  
(2.45 V)  
+30 dBu  
(24.5 V)  
ST CH INPUT  
11/12-13/14  
–54 dBu  
(1.55 mV)  
–34 dBu  
(15.5 mV)  
–14 dBu  
(155 mV)  
Phone Jack *5  
RCA Pin Jack  
10 kohms  
10 kohms  
600 ohms Lines  
600 ohms Lines  
–10 dBu  
(245 mV)  
+10 dBu  
(2.45 V)  
+30 dBu  
(24.5 V)  
CH INSERT  
IN(1-6)  
– 20 dBu  
(77.5 mV)  
0 dBu  
(0.775 V)  
+20 dBu  
(7.75 V)  
Phone Jack *5  
*1 0 dBu is referenced to 0.775 Vrms.  
*2 Input sensitivity: the lowest level that will produce an output of +4 dBu(1.23 V), or the nominal output level when the unit is set to maxi-  
mum level. (All faders and level controls are at maximum position.)  
*3 XLR-3-31 type connectors are balanced. (1/Sleeve=GND, 2/Tip=HOT, 3/Ring=COLD)  
*4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND )  
*5 Phone Jacks are unbalanced.  
Output Characteristics  
Output Level  
Actual Source  
Impedance  
For Use with  
Nominal  
Output Terminals  
Connector  
Phone Jack *2  
Nominal  
Max. before Clip  
+20 dBu (7.75 V)  
+20 dBu (7.75 V)  
+20 dBu (7.75 V)  
+20 dBu (7.75 V)  
+20 dBu (7.75 V)  
ST OUT [L, R]  
150 ohms  
150 ohms  
150 ohms  
150 ohms  
600 ohms  
600 ohms  
100 ohms  
600 ohms Lines  
600 ohms Lines  
600 ohms Lines  
600 ohms Lines  
10 kohms Lines  
10 kohms Lines  
8 ohms/40 ohms Lines  
+4 dBu (1.23 V)  
+4 dBu (1.23 V)  
+4 dBu (1.23 V)  
+4 dBu (1.23 V)  
0 dBu (0.775 V)  
ST SUB OUT [L, R]  
AUX SEND 1, 2  
EFFECT SEND  
CH INSERT OUT 1-6  
REC OUT [L, R]  
PHONES [L, R]  
Phone Jack *2  
Phone Jack *2  
Phone Jack *2  
Phone Jack *2  
RCA Pin Jack  
Phone Jack (TRS)  
–10 dBV (316 mV) +10 dBV (3.16 V)  
1 mW/3 mW  
20 mW/75 mW  
SPEAKON  
Phone Jack *2  
SPEAKER OUT  
0.1 ohms  
4 ohms Speakers  
125 W  
500 W  
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.  
*2 Phone Jacks are unbalanced.  
EMX5014C Owner’s Manual  
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Reference  
Specifications  
Dimensional Diagrams  
444 (440 excluding screw heads)  
155  
145  
6
Unit: mm  
EMX5014C Owner’s Manual  
34  
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Reference  
Specifications  
Block Diagram and Level Diagram  
1 0 k H z  
8 k H z  
4 k H z  
2 k H z  
1 k H z  
5 0 0 H z  
2 5 0 H z  
1 2 5 H z  
6 3 H z  
P F L R / A F L R  
P F L L / A F L L  
E F F E C T ( N O N - M U T E )  
U A X 2 ( N O N - M U T E )  
U A X 1 ( N O N - M U T E )  
S T R ( N O N - M U T E )  
S T L ( N O N - M U T E )  
E F F E C T ( M U T E )  
U A X 2 ( M U T E )  
U A X 1 ( M U T E )  
S T R ( M U T E )  
S T L ( M U T E )  
H i G a i n  
M i d G a i n  
M i d f  
L o G a i n  
H i  
M i d  
L o  
H i  
M i d  
L o  
EMX5014C Owner’s Manual  
35  
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For details of products, please contact your nearest Yamaha  
representative or the authorized distributor listed below.  
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten  
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen  
Bestimmungsländern erhältlich.  
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou  
au distributeur le plus proche de vous figurant dans la liste suivante.  
Para detalles sobre productos, contacte su tiendaYamaha más cercana  
o el distribuidor autorizado que se lista debajo.  
MALTA  
NORTH AMERICA  
ASIA  
Olimpus Music Ltd.  
CANADA  
THE PEOPLE’S REPUBLIC OF CHINA  
Yamaha Music & Electronics (China) Co.,Ltd.  
2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,  
Shanghai, China  
The Emporium, Level 3, St. Louis Street Msida  
MSD06  
Tel: 02133-2144  
Yamaha Canada Music Ltd.  
135 Milner Avenue, Scarborough, Ontario,  
M1S 3R1, Canada  
THE NETHERLANDS/  
Tel: 416-298-1311  
Tel: 021-6247-2211  
BELGIUM/LUXEMBOURG  
Yamaha Music Europe Branch Benelux  
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands  
Tel: 0347-358 040  
U.S.A.  
INDIA  
Yamaha Corporation of America  
6600 Orangethorpe Ave., Buena Park, Calif. 90620,  
U.S.A.  
Yamaha Music India Pvt. Ltd.  
Spazedge building, Ground Floor, Tower A, Sector  
47, Gurgaon- Sohna Road, Gurgaon, Haryana, India  
Tel: 0124-485-3300  
FRANCE  
Yamaha Music Europe  
BP 70-77312 Marne-la-Vallée Cedex 2, France  
Tel: 01-64-61-4000  
Tel: 714-522-9011  
INDONESIA  
CENTRAL & SOUTH AMERICA  
PT. Yamaha Musik Indonesia (Distributor)  
PT. Nusantik  
Gedung Yamaha Music Center, Jalan Jend. Gatot  
Subroto Kav. 4, Jakarta 12930, Indonesia  
Tel: 021-520-2577  
MEXICO  
ITALY  
Yamaha de México S.A. de C.V.  
Calz. Javier Rojo Gómez #1149,  
Col. Guadalupe del Moral  
C.P. 09300, México, D.F., México  
Tel: 55-5804-0600  
Yamaha Music Europe GmbH, Branch Italy  
Viale Italia 88, 20020 Lainate (Milano), Italy  
Tel: 02-935-771  
KOREA  
SPAIN/PORTUGAL  
Yamaha Music Europe GmbH Ibérica, Sucursal  
en España  
Yamaha Music Korea Ltd.  
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,  
Kangnam-Gu, Seoul, Korea  
Tel: 02-3467-3300  
BRAZIL  
Yamaha Musical do Brasil Ltda.  
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,  
CEP 04534-013 Sao Paulo, SP. BRAZIL  
Tel: 011-3704-1377  
Ctra. de la Coruna km. 17, 200, 28230  
Las Rozas (Madrid), Spain  
Tel: +34-902-39-8888  
MALAYSIA  
Yamaha Music (Malaysia) Sdn., Bhd.  
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,  
Petaling Jaya, Selangor, Malaysia  
Tel: 03-78030900  
GREECE  
Philippos Nakas S.A. The Music House  
147 Skiathou Street, 112-55 Athens, Greece  
Tel: 01-228 2160  
ARGENTINA  
Yamaha Music Latin America, S.A.  
Sucursal de Argentina  
SINGAPORE  
Olga Cossettini 1553, Piso 4 Norte  
Madero Este-C1107CEK  
Buenos Aires, Argentina  
Tel: 011-4119-7000  
SWEDEN/FINLAND/ICELAND  
Yamaha Music Europe GmbH Germany filial  
Scandinavia  
J. A. Wettergrens Gata 1, Box 30053  
S-400 43 Göteborg, Sweden  
Tel: 031 89 34 00  
Yamaha Music (Asia) PRIVATE LIMITED  
Blk 202 Hougang Street 21, #02-00,  
Singapore 530202, Singapore  
Tel: 6747-4374  
PANAMA AND OTHER LATIN  
AMERICAN COUNTRIES/  
CARIBBEAN COUNTRIES  
Yamaha Music Latin America, S.A.  
Torre Banco General, Piso 7, Urbanización Marbella,  
Calle 47 y Aquilino de la Guardia,  
Ciudad de Panamá, Panamá  
TAIWAN  
Yamaha KHS Music Co., Ltd.  
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.  
Taiwan 104, R.O.C.  
DENMARK  
Yamaha Music Europe GmbH, Tyskland – filial  
Denmark  
Generatorvej 6A, DK-2730 Herlev, Denmark  
Tel: 44 92 49 00  
Tel: 02-2511-8688  
THAILAND  
Siam Music Yamaha Co., Ltd.  
4, 6, 15 and 16th floor, Siam Motors Building,  
891/1 Rama 1 Road, Wangmai,  
Pathumwan, Bangkok 10330, Thailand  
Tel: 02-215-2622  
Tel: +507-269-5311  
NORWAY  
Yamaha Music Europe GmbH Germany -  
Norwegian Branch  
Grini Næringspark 1, N-1345 Østerås, Norway  
Tel: 67 16 77 70  
EUROPE  
THE UNITED KINGDAM/IRELAND  
Yamaha Music Europe GmbH (UK)  
Sherbourne Drive, Tilbrook, Milton Keynes,  
MK7 8BL, England  
OTHER ASIAN COUNTRIES  
Yamaha Corporation,  
Asia-Pacific Sales & Marketing Group  
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,  
Japan 430-8650  
RUSSIA  
Yamaha Music (Russia)  
Room 37, bld. 7, Kievskaya street, Moscow,  
121059, Russia  
Tel: 01908-366700  
GERMANY  
Yamaha Music Europe GmbH  
Siemensstraße 22-34, 25462 Rellingen, Germany  
Tel: 04101-3030  
Tel: 495 626 5005  
Tel: +81-53-460-2303  
OTHER EUROPEAN COUNTRIES  
Yamaha Music Europe GmbH  
Siemensstraße 22-34, 25462 Rellingen, Germany  
Tel: +49-4101-3030  
OCEANIA  
SWITZERLAND/LIECHTENSTEIN  
Yamaha Music Europe GmbH  
Branch Switzerland in Zürich  
Seefeldstrasse 94, 8008 Zürich, Switzerland  
Tel: 044-387-8080  
AUSTRALIA  
Yamaha Music Australia Pty. Ltd.  
Level 1, 99 Queensbridge Street, Southbank,  
Victoria 3006, Australia  
AFRICA  
Yamaha Corporation,  
Tel: 3-9693-5111  
AUSTRIA/BULGARIA  
Yamaha Music Europe GmbH Branch Austria  
Schleiergasse 20, A-1100 Wien, Austria  
Tel: 01-60203900  
Asia-Pacific Sales & Marketing Group  
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,  
Japan 430-8650  
COUNTRIES AND TRUST  
TERRITORIES IN PACIFIC OCEAN  
Yamaha Corporation,  
Asia-Pacific Sales & Marketing Group  
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,  
Japan 430-8650  
Tel: +81-53-460-2303  
CZECH REPUBLIC/HUNGARY/  
ROMANIA/SLOVAKIA/SLOVENIA  
Yamaha Music Europe GmbH  
Branch Austria (Central Eastern Europe Office)  
Schleiergasse 20, A-1100 Wien, Austria  
Tel: 01-602039025  
MIDDLE EAST  
Tel: +81-53-460-2303  
TURKEY/CYPRUS  
Yamaha Music Europe GmbH  
Siemensstraße 22-34, 25462 Rellingen, Germany  
Tel: 04101-3030  
POLAND/LITHUANIA/LATVIA/ESTONIA  
Yamaha Music Europe GmbH  
Branch Sp.z o.o. Oddzial w Polsce  
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland  
Tel: 022-500-2925  
OTHER COUNTRIES  
Yamaha Music Gulf FZE  
LOB 16-513, P.O.Box 17328, Jubel Ali,  
Dubai, United Arab Emirates  
Tel: +971-4-881-5868  
PA30  
HEAD OFFICE Yamaha Corporation, Pro Audio Division  
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650  
Tel: +81-53-460-2441  
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C.S.G., Pro Audio Division  
© 2005-2012 Yamaha Corporation  
WG13770 202CRAP*.*-**D0  
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