Yamaha Music Mixer EM5014C User Manual

POWERED MIXER

Owner’s Manual

Quick Guide

Pages 7 to 11

Making the Most of Your Mixer

Pages 12 to 18

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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 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 place the device in an unstable position where it might accidentally fall over.

Power supply/Power cord

• Remove the electric plug from the outlet when the device is not to be used for

• 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

extended periods of time, or during electrical storms.

place the device on its side or upside down. Inadequate ventilation can result in

• When removing the electric plug from the device or an outlet, always hold the

overheating, possibly causing damage to the device(s), or even ﬁre.

plug itself and not the cord. Pulling by the cord can damage it.

• 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.

Location

• Before moving the device, remove all connected cables.

• When setting up the product, make sure that the AC outlet you are using is

Connections

easily accessible. If some trouble or malfunction occurs, immediately turn off

• Before connecting the device to other devices, turn off the power for all devices.

the power switch and disconnect the plug from the outlet. Even when the power

Before turning the power on or off for all devices, set all volume levels to minimum.

switch is turned off, electricity is still ﬂowing to the product at the minimum

• Use only speaker cables for connecting speakers to the speaker jacks. Use of

other types of cables may result in ﬁre.

level. When you are not using the product for a long time, make sure to unplug

the power cord from the wall AC outlet.

• If this device is to be mounted in an EIA-standard rack, leave the back of the rack

open and make sure that it is at least 10 cm away from walls or surfaces. Also, if

this device is to be mounted with devices that tend to generate heat, such as

power ampliﬁers, be sure to keep an adequate gap between this device and the

heat-generating devices or install ventilation panels to prevent high

temperatures from developing inside this device.

Handling caution

• 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.

Inadequate ventilation can result in overheating, possibly causing damage to the

device(s), or even ﬁre.

• Do not insert your ﬁngers or hands in any gaps or openings on the device

(vents, etc.).

• 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.

• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any

gaps or openings on the device (vents, etc.) If this happens, turn off the power

immediately and unplug the power cord from the AC outlet. Then have the

device inspected by qualiﬁed Yamaha service personnel.

• Do not 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 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 rest your weight on the device or place heavy objects on it, and avoid use

excessive force on the buttons, switches or connectors.

(5)-4

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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 qualiﬁed 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

Feature s ...............................................................................................................................................6

Before Turning On the Mixer................................................................................................................6

■ Mixer Basics

Quick Guid e ......................................................................................................7

Getting Sound to the Speaker s ............................................................................................................7

Adding Some Rever b .........................................................................................................................1 0

Using the Compressors to Enhance Vocals ......................................................................................1 1

Making the Most of Your Mixe r .....................................................................12

A Place for Everything and Everything in its Plac e ............................................................................1 2

A Plethora of Connectors—What Goes Where?........................................................................1 2

Balanced, Unbalanced—What’s the Difference ?...............................................................................1 3

How Do Balanced Lines Reject Noise? .............................................................................................1 3

A balanced cable has three conductors :............................................................................................1 4

Signal Levels and the Decibel............................................................................................................1 4

Making Better Mixes...........................................................................................................................1 5

Approaching the Mix—Where Do You Start?.............................................................................1 5

To EQ or Not to EQ....................................................................................................................1 6

Ambienc e ...................................................................................................................................1 7

The Modulation Effects: Phasing, Chorus, and Flangin g ...........................................................1 7

Compressio n ..............................................................................................................................1 8

■ Reference

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

Controls on Each Channe l .................................................................................................................1 9

Digital Effects Sectio n ........................................................................................................................2 2

Master Sectio n ...................................................................................................................................2 4

Rear Pane l .........................................................................................................................................2 7

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

2-channel connectio n .................................................................................................................2 8

2-channel parallel connection ....................................................................................................2 8

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

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

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

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

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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

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.

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.

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

page 30.

• 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

2,10

9,11

8,10

Turn the Channel faders and the ST Master fader all

the way down.

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 ( ).

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

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.

Turn the ON switch on.

Set the ST Master fader to the “0” position.

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.

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.

3,5

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

REVERB STAGE 1

REVERB STAGE 2

REVERB PLATE

KARAOKE ECHO

VOCAL ECHO

CHORUS 1

FLANGER

PHASER

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.

Set the EFFECT RTN fader to the “0” position.

Use the channel EFFECT knobs to adjust the

effect depth for each channel.

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.

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

(

)

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

page 22).

You need to be careful not to overdo effects,

however, because going to far can undermine the

clarity and quality of your mix. Use your ambience

effects just enough to create the required feeling of

depth, but no more than is necessary to keep your

sound clean.

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

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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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.

Cold (–)

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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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

Tip:OUT

Tip:IN

To the INSERT I/O jack

Sleeve (Ground)

Ring :IN

Tip:OUT

To the output jack of the

external processor

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

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.

(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.)

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.

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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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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”.

• 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.

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

DELAY TIME

LFO FREQ

CHORUS 2

LFO FREQ

FLANGER

LFO FREQ

PHASER

LFO FREQ

AUTO WAH

LFO FREQ

DISTORTION

DRIVE

K PARAMETER Control

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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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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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.

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.

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.

[

T PHONES Jack

Connector for headphones. This is a balanced stereo

phone-type output jack.

U POWER Indicator

The indicator lights up when the POWER switch i is

on.

V Graphic Equalizer

]

This 9-band graphic equalizer adjusts the 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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• 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.

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.

• 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

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

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–

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.

4Ω – 8Ω

2-channel parallel connection

When connecting speakers in parallel as shown below, use speakers with impedance of 8 ohms to 16 ohms.

8Ω – 16Ω

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Reference

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

EMX unit.

Set the kit’s two metal ﬁttings into position, and

screw them in using the screws (silver) included in

the RK5014.

Do not use the screws (black) you just removed from

the EMX unit.

Mount the unit into the rack, and fasten it into place.

Do not install the mixer near power 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

PAN

SEND

REVERB

RESONANCE

GATE TIME

CHORUS

TEMPO

ARPEGGIO

ASSIGN

CUTOFF

RELEASE

AUDIO

OFF

ntegrated

MUSIC PRODUCTION SYNTHESIZER

ampl

equence

Modular

ynthes

VELOCITY

UNITMULTIPLY

PRE

TONE

KNOB

CONTROL

FUNCTION

MODE

SLOT

MASTER

EFFECT