Yamaha Music Mixer EMX212S User Manual

POWERED MIXER

Owner’s Manual

Quick Guide

Pages 6 to 12

Making the Most of Your Mixer

Pages 13 to 19

Download from Www.Somanuals.com. All Manuals Search And Download.

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

extended periods of time, or during electrical storms.

• Do not block the vents. This device has ventilation holes at the rear and side 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

• 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

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

Connections

• 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

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

other types of cables may result in ﬁre.

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

Handling caution

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

• When turning on the AC power in your audio system, always turn on the device

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

or external power ampliﬁers LAST, to avoid speaker damage. When turning the

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

power off, the device or external power ampliﬁers should be turned off FIRST for

heat-generating devices or install ventilation panels to prevent high

the same reason.

temperatures from developing inside this device.

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

• Do not use the device in a conﬁned, poorly-ventilated location. If this device is to

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

be used in a small space other than an EIA-standard rack, make sure that there is

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

adequate space between the device and surrounding walls or other devices: at

device inspected by qualiﬁed Yamaha service personnel.

least 10 cm at the sides, 25 cm behind and 15 cm above. Inadequate ventilation

• Do not use the device 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.

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

• 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 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 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.

(5)-4 2/3

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

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.

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 6)

Presents a general explanation of mixers and mixer concepts. Includes a Quick Guide that will help beginners get up to speed very quickly.

■ EMX Setup and Operation (starts on page 20)

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.

This manual applies to models EMX512SC, EMX312SC, and EMX212SC. Within this manual, the term “EMX” is used to refer to all three of these models.

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.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Thank you for your purchase of this Yamaha EMX512SC, EMX312SC, or EMX212S power mixer.

Please read through this manual carefully before beginning use, so that you will be able to take full

advantage of your mixer’s superlative features and enjoy trouble-free operation for years to come. After

reading the manual, please store it in a safe place.

Contents

Features

Input Channels.....................................page 20

■ Basic

Quick Guide

The EMX offers four monoaural mic/line input channels (1

to 4) and four stereo input channel pairs (5/6 to 11/12),

allowing you to freely mix inputs from microphones, line-

level devices, and stereo devices. For example, you can

mix four microphones with four stereo devices, or seven

microphones with one stereo synthesizer.

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

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

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

Using the Compressors to Enhance Vocals ..............1 2

Phantom Power (+15V)........................page 25

A single switch turns phantom power on to all mic inputs.

Use this feature to provide power to condenser microphones.

Making the Most of Your Mixer

A Place for Everything and Everything in its Plac e ....1 3

A Plethora of Connectors—What Goes Where? ...1 3

Balanced, Unbalanced—What’s the Difference? ..1 4

Signal Levels and the Decibel....................................1 5

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,

High-Quality Digital Effects ................page 22

The mixer’s internal effector is in the same league as our

SPX effector series, allowing you to create a rich range of

variations with no external help. But of course you are also

free to use the EFFECT OUT jack to connect to an external

effector of your choice.

MAIN and MONITOR Outputs .............page 23

The mixer offers excellent independent control of main and

monitor output. The top panel offers separate main and

monitor outputs, while the POWER AMP switch can be

used to set the SPEAKERS jacks so that they output either

the main signal to both speakers or else the main signal to

one speaker and the monitor signal to the other. Separate

MASTER control knobs and 7-segment graphic equalizers

are also provided.

and Flanging ........................................................1 8

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

■ Reference

Controls and Connectors

Controls on Each Channe l .........................................2 0

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

MAIN Sectio n .............................................................2 3

MONITOR Section .....................................................2 4

POWER Section ........................................................2 5

Rear Pane l .................................................................2 6

Compressors (EMX512SC and

EMX312SC only) ..................................page 21

Compressors on channels 1 to 4 can be used to squeeze

the dynamic range of inputs such as microphones and

acoustic guitars, attenuating the higher levels and bringing

out the lower ones. This feature helps reduce distortion and

allows overall volume to be set higher, resulting in a stron-

ger and more impressive sound.

Connecting Speakers

Horizontal Orientation, Tilting and

Rack Mounting

Tilt Setup or Rack Mount ................... page 29

The EMX can be positioned at an angle or mounted in a

rack, allowing for easy accessibility in a wide variety of set-

ups.

Horizontal Orientation ................................................2 8

Tilting .........................................................................2 9

Rack Mountin g ...........................................................2 9

Internal Power Amp.............................page 25

Setting Up

The internal amp makes it possible to connect the SPEAK-

ERS 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.

Troubleshooting

Specifications

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

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:

When turning power off, proceed in the opposite order.

• Before turning power on, make sure that the LEVEL and MASTER knobs are set to the “0” position.

Sound source (external device)

→

EMX unit

→

Amps (Powered speakers)

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.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

Getting Sound to the Speakers

We begin by connecting up two speakers and generating some

stereo output. Note that operations and procedures will vary

somewhat according to the input devices you are using.

2,8

2,7,9

Connect up the speakers and your input devices

(microphones, instruments, etc.)

Before connecting input

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 con-

nect your input devices (microphones, guitar, etc.) to the appropriate input jacks

on the top panel. For details, see page 30.

devices to the EMX, be sure

that all of these devices (includ-

ing 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.

Neglect of these precautions

may result in large noise bursts

that may damage your equip-

ment, your ears, or both.

RIGHT

WRONG!!

NOTE

We recommend that you do not

connect electric instruments

(such as electric 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.

Never connect both A and B

jacks to a single speaker. Con-

nection of both jacks to the

same speaker may result in

damage to the mixer.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

Turn the LEVEL knobs and the MASTER knobs to 0.

This position

Set the POWER AMP switch to its upper position

(to MAIN L-R).

For information about this switch, see page 25.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

If you have connected input devices to channels 1 to 4, set

the LINE/MIC switch on each channel accordingly.

If you have connected a line-level device, such as a keyboard or audio device,

set the channel’s switch to the LINE position (

). If you have connected a

microphone or other mic-level device, set the switch to the MIC position (

If you are using one or more condenser microphones for

your inputs, set the PHANTOM switch to the ON position

(

• Be sure to leave this switch

off if you do not need phan-

tom power.

• When using phantom power,

do not connect any devices

other than condenser micro-

phones to the XLR input

jacks. Other devices may be

damaged if connected to

phantom power. This precau-

tion does not apply to bal-

anced dynamic microphones,

however, as these will not be

affected by phantom power.

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.

• Before turning the PHAN-

TOM switch ON or OFF, be

sure to turn off the power to

the mixer and to all other

devices having internal

ampliﬁers. It is also recom-

mended that you set both

MASTER knobs to their “0”

position. Neglect of these

precautions may result in

damage to speakers, to other

equipment, or to your ears.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

Turn the MASTER knob in the MAIN section to the

tion.

posi-

This position

Adjust the LEVEL knobs for all occupied channels.

For each input device you have connected: Generate sound from the device

while adjusting the corresponding channel’s LEVEL knob. Adjust so that the

LEVEL meter occasionally reaches the “0” level.

Now turn the MASTER knob in the MAIN section again

as necessary to adjust the overall output level.

It is acceptable for the LIMITER

lamps to ﬂash on brieﬂy at

times, but if they remain lit con-

tinuously then there is risk of

damage to your speakers or to

the internal amp. Reduce the

MASTER knob setting so that

these lamps do not stay on.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

Adding Some Reverb

Now let’s try adding some reverb to your input.The reverb effects

let you simulate the sound of different performance environ-

ments—such as concert halls and small clubs.

Turn the ON switch to it’s ON position.

This switch turns the internal effector on and off. The lamp lights up orange to

indicate that the effector is on. As an alternative to the ON switch, you can use a

separately sold FC5 foot switch to toggle the effector on and off.

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

DRUM AMBIENCE

KARAOKE ECHO

VOCAL ECHO

CHORUS 1

CHORUS 2

FLANGER

PHASER

AUTO WAH

DISTORTION

Use the channel EFFECT knobs to adjust the effect

depth for each channel.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Quick Guide

Use the MAIN section’s EFFECT RTN knob to adjust the

overall effect depth.

Note that you can use the PARAMETER knob to adjust the characteristic sound

of the selected effect. If you have selected a reverb effect, the knob will adjust

the reverb time.

Using the Compressors to Enhance Vocals (EMX512SC and EMX312SC only)

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 compression may lead to howling. For more information

about the compressors, see pages 18 and 21.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

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.

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

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.

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?”.

cassette recorder or similar gear.

The Sturdy XLR

The Versatile Phone Jack

Let’s start by taking a look at the

most common connector types.

Male

Stereo/TRS phone plug

The Venerable RCA Pin

Jack

Female

Mono phone plug

White

This type of connector is

The name “phone jack” arose

simply because this configuration

was first used in telephone

switchboards. Phone jacks can be

tricky because you can’t always

tell what type of signal they’re

generally referred to as “XLR-

type,” and almost always carries a

balanced signal. If the

corresponding circuitry is

designed properly, however, XLR-

Red

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Making the Most of Your Mixer

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.

Balanced noise cancellation

Noise

Hot (+)

Cold (–)

Ground

Noise-free signal

Balanced,

Unbalanced—What’s

the Difference?

Phase

inversion

Noise cancelled

Receiving device

Source

Cable

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

degree in the mixer’s high-gain

head amplifier.

2) A “hot” or “+” conductor which

carries the normal-phase audio

signal.

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

3) A “cold” or “–” conductor which

carries the reverse-phase

audio signal.

How Do Balanced Lines

Reject Noise?

** Skip this section if technical

details make you queasy. **

Balanced

Unbalanced

Hot

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.

Cold

Shield

(Ground)

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

Outer

Insulation

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?

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.

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.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Making the Most of Your Mixer

way, but a more systematic

approach that is suited to the

material you’re mixing will

Unbalanced noise

Noise

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:

Source

Cable

Receiving device

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?

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.

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

Example1:

Making Better Mixes

Vocal Ballad Backed by

Piano Trio

What are you

mixing? Is it a song

in which the vocals

are the most

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

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

important element?

+ 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

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.

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

A mixer may be required to

handle signals at a wide range of

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Making the Most of Your Mixer

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

The fundamental

musical instruments.

and harmonic

frequency ranges of some

Cymbal

Piano

Bass Drum

Snare Drum

Bass

Guitar

add next will

depend on

the type of

Trombone

Trumpet

material you

(

)

20 k

20 50 100 200

500

1 k 2 k 5 k

10 k

are working

with and

your

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.

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.

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.

Example2:

Funky R&B Groove

The approach will

be totally different

if you’re mixing a

funky R&B

number that

centers on the

The frequencies controlled by the LOW, MID, and HIGH bands

on this mixer have been specifically selected to provide the most

“musical” range of adjustment with the widest possible range of

instruments (100Hz, 2,500 Hz, and 10,000 Hz, respectively).

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.

Cut for a Cleaner Mix

To EQ or Not to EQ

For example: cymbals have a lot

In general: less is better. There

of energy in the mid and low

frequency ranges that you don’t

are many situations in which you’ll

need to cut certain frequency

really perceive as musical sound,

ranges, but use boost sparingly,

but which can interfere with the

and with caution. Proper use of

clarity of other instruments in

EQ can eliminate interference

these ranges. You can basically

between instruments in a mix and

turn the low EQ on cymbal

give the overall sound better

channels all the way down without

definition. Bad EQ—and most

changing the way they sound in

commonly bad boost—just

the mix. You’ll hear the difference,

sounds terrible.

however, in the way the mix

sounds more “spacious,” and

instruments in the lower ranges

will have better definition.

Surprisingly enough, piano also

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Making the Most of Your Mixer

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.

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

MID Flat

MID Boost

HIGH Boost

LOW Boost

LOW Flat

HIGH Flat

HIGH Cut

LOW Cut

MID Cut

Frequency (Hz)

sometimes you’ll want the “snap”

of a bass guitar, for example, to

come through.

caused by external processing.

(Refer to page 22).

setting the delay time to dotted

eighth notes corresponding to the

tune’s tempo.

Boost with Caution

If you’re trying to create special or

unusual effects, go ahead and

boost away as much as you like.

But if you’re just trying to achieve

a good-sounding mix, boost only

in very small increments. A tiny

boost in the midrange can give

vocals more presence, or a touch

of high boost can give certain

instruments more “air.” Listen,

and if things don’t sound clear

and clean try using cut to remove

frequencies that are cluttering up

the mix rather than trying to boost

the mix into clarity.

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.

Reverb Tone

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.

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.

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.

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

Ambience

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

Reverb Level

It’s amazing how quickly your

ears can lose perspective and

fool you into believing that a

totally washed-out mix sounds

perfectly fine. To avoid falling into

this trap start with reverb level all

channels in the same way as

external effects processors, with

the extra connections required by,

or the loss in sound quality often

variety of “grooves”, and you

need to select the time that best

suits the music. When adding

delay to a vocal, for example, try

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Making the Most of Your Mixer

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.

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

be used within a mix to 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

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.

instrument, while flanging is

usually used as an outright

“special effect” to produce other-

worldly sonic swoops.

The Modulation

Effects: Phasing,

Chorus, and Flanging

Compression

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.

Have you ever wondered why

professionally produced

The EMX compressor makes

achieving great sound much

recordings sound so different

from your own? There are

numerous reasons, of course, but

one important factor is the

judicious use of compression.

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

One form of compression known

as “limiting” can, when properly

used, produce a smooth, unified

sound with no excessive peaks or

distortion. Compression can also

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.

OUTPUT

(Min)

(Max)

For chorus and flanging the signal

is actually delayed by several

milliseconds (a millisecond is a

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

INPUT

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

BASIC

Making the Most of Your Mixer

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.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

Controls on Each Channel

1 FCL (Feedback Channel Locating) lamp

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

channels equalizer 2 or level knob 5 to reduce the

level so that the lamp goes off.

Channels

1 to 4

(Monaural)

Channels

5/6 and 7/8

(Stereo)

Channels

9/10 and 11/12

(Stereo)

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.

2 Equalizer (HIGH, MID, and LOW)

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. Turning the

knob to the right boosts the corresponding frequency

band, while turning to the left attenuates the band. The

following table shows the equalization type, the base fre-

quency, and the maximum cut/boost for each of the three

bands.

Band

HIGH

MID

Type

Base Frequency Maximum Cut/Boost

Shelving

Peaking

Shelving

10 kHz

2.5 kHz

100 Hz

15 dB

LOW

3 MONITOR control

Adjusts the level of the signal sent from the channel into

the MONITOR bus. If input is from a stereo channel pair

(5/6, 7/8, 9/10, or 11/12), the signals from the L and R

channels are mixed before moving into the bus. The

MONITOR bus signal is output at the MONITOR OUT

jack O, and may also be output from the SPEAKERS A

jacks V (depending on the setting of the POWER AMP

switch R).

NOTE

The channel’s LEVEL knob 5 has no effect on the

level of the signal sent into the MONITOR bus.

4 EFFECT knob

Adjusts the level of the signal sent from the channel into

the EFFECT bus. If input is from a stereo channel pair

(5/6, 7/8, 9/10, or 11/12), 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 EFFECT OUT jack C.

NOTE

The channel’s LEVEL knob 5 also affects the level

of the channel’s signal into the EFFECT bus.

5 LEVEL knob

Adjusts the signal’s output level. Use these knobs to

adjust the volume balance among the various channels.

NOTE

To reduce noise, set the knobs for unused channels to

“0”.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

6 COMP knob (EMX512SC and EMX312SC only)

9 LINE and MIC jacks (Channels 5/6 to 11/12)

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 adjust-

ing 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 compression may lead to

howling.

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 5/6 and 7/8 these are phone jacks; on

channel pairs 9/10 and 11/12 they are

RCA pin jacks.

MIC jack:

XLR balanced stereo mic-level input jack.

If you are connecting a condenser micro-

phone, be sure to turn the PHANTOM

switch P to its ON position.

7 LINE/MIC switch (Channels 1 to 4)

Set this switch to match the type of input signal you are

supplying—either a mic-level (low level) signal or a

line-level (high level) signal. Set the switch to LINE

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.

(

) if you are connecting a line-level source, such as a

keyboard or audio device. Set it to MIC ( ) if you are

connecting up a microphone or other mic-level source.

• Signals into LINE L and LINE R jacks are sent

independently to the corresponding MAIN L and R

buses.

8 INPUT A and INPUT B jacks (Channels 1 to 4)

You can connect an input source to either jack. Be sure

to set the LINE/MIC switch 7 to match the type of

device you are connecting.

• The signal into a MIC jack is sent in equal levels to

the MAIN L and MAIN R buses.

INPUT A:

TRS phone-type balanced line input (T:

hot, R: cold, S: ground). Accepts both bal-

anced and unbalanced line input.

R: Cold (–)

S: Ground

T: Hot (+)

INPUT B:

XLR balanced mic input (1: ground, 2:

hot, 3: cold). If you are connecting a con-

denser microphone, be sure to turn the

PHANTOM switch P to its ON position.

Cold (–)

Ground

Hot (+)

NOTE

• You cannot use both jacks at the same time.

• The signal into an INPUT jack is sent in equal lev-

els to the MAIN L and MAIN R buses.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

Digital Effects Section

No.

Program

KARAOKE ECHO

VOCAL ECHO

CHORUS 1

Parameter

DELAY TIME

LFO FREQ

DRIVE

CHORUS 2

FLANGER

PHASER

AUTO WAH

DISTORTION

A PARAMETER knob

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.

B ON switch

Switches use of the internal effector on or off. The inter-

nal effect is applied only if this switch is on. Note that

the lamp above the switch lights up orange to indicate

that the switch is on. As an alternative to the ON switch,

you can use a separately sold FC5 foot switch to toggle

the effector on and off.

NOTE

The internal effector is automatically turned on when-

ever you switch on the mixer’s power.

C EFFECT OUT jack

This unbalanced phone output jack outputs the signal

from the EFFECT bus. You can use this jack to output

the signal to an external effector. You can then return the

signal by connecting the external effector to any of the

LINE jacks on channel pairs 5/6 to 11/12.

If you are returning a signal from an external effector

into a LINE jack on any channel pair 5/6 to 11/12,

please be sure to turn the EFFECT knob for that chan-

nel pair to “0”.

0 PROGRAM dial

Selects the type of effect to be used. You can select from

16 different effect types, as follows.

No.

Program

Parameter

D FOOT SW jack

REVERB HALL 1

REVERB HALL 2

REVERB ROOM 1

REVERB ROOM 2

REVERB STAGE 1

REVERB STAGE 2

REVERB PLATE

DRUM AMBIENCE

REVERB TIME

This phone input jack can connect to the (separately

sold) YAMAHA FC5 foot switch. With the foot switch

connected, you can use your foot to toggle the internal

effector ON and OFF.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

MAIN Section

E Graphic Equalizer

This 7-band graphic equalizer adjusts the frequency

characteristics of the stereo signal on the MAIN L and

MAIN R buses. This is the signal that is output to the

MAIN OUT jacks I and to the SPEAKERS jacks V.

Each band can be adjusted by 12 dB. The base frequen-

cies for the bands are: 125, 250, 500, 1k, 2k, 4k and 8k

Hz.

F EFFECT RETURN knob

Adjusts the level of the signal sent from the internal

effector to the MAIN L and MAIN R buses.

G MASTER knob

Adjusts the level of the signal output to the SPEAKERS

jacks V and MAIN OUT jacks I.

H LEVEL meters

The L and R meters show the level of the signal output

from the MAIN OUT jack I.

The MAIN OUT signal also passes through the inter-

nal power amp and is then output at the SPEAKERS

jacks V. Keep an eye on the LIMITER lamps Q to

ensure that the level at the SPEAKERS jacks does not

stay too high.

I MAIN OUT L and R jacks

These unbalanced phone output jacks feed out the main

stereo output. You would typically connect these jacks to

a power amp or powered speakers. The signal sent to

these jacks is adjusted by the MAIN section’s MASTER

knob G and graphic equalizer E.

J REC OUT L and R jacks

These RCA pin-type unbalanced output jacks can be

used to send the main stereo signal to an external DAT

recorder or cassette recorder. Note that unlike the output

from the MAIN OUT jacks, the signal from the REC

OUT jacks is not adjusted by the MAIN section’s MAS-

TER knob G and graphic equalizer E.

NOTE

Since this output signal is not adjusted by the MAIN

section’s MASTER knob G, you should adjust the

level as necessary at the recording side.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

MONITOR Section

K Graphic Equalizer

This 7-band graphic equalizer adjusts the frequency

characteristics of the monitor signal that feeds to the

MONITOR OUT jack O and (if the POWER AMP

switch is down) to the SPEAKERS B jacks V. Each

band can be adjusted by 12 dB. The base frequencies

for the bands are: 125, 250, 500, 1k, 2k, 4k, and 8k Hz.

L EFFECT RETURN knob

Adjusts the level of the signal sent from the internal

effector to the MONITOR bus.

M MASTER knob

Adjusts the level of the monitor signal send to the MON-

ITOR OUT jack O and (if the POWER AMP switch is

down) to the SPEAKERS B jacks V.

N LEVEL meters

The L and R meters show the level of the signal output

from the MONITOR OUT jack O.

If the POWER AMP switch is down, the MONITOR

OUT signal also passes through the internal power amp

and is then output at SPEAKERS jacks B1 and B2 V.

Keep an eye on the LIMITER lamps Q to ensure that

the level at the SPEAKERS jacks does not stay too

high.

O MONITOR OUT jack

This unbalanced phone jack outputs the monaural moni-

tor signal. You would typically connect this jack to pow-

ered speakers used for monitoring. The signal sent to this

jack is adjusted by the MONITOR section’s MASTER

knob M and the settings of the MONITOR section’s

graphic equalizer K.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

POWER Section

• To avoid damage to speakers, be sure to turn off the

power to the EMX itself and to any other power

ampliﬁers and power speakers before switching

phantom power on or off. We also recommend that

you turn all output controls (LEVEL knobs, MAS-

TER knobs, etc.) to minimum settings before operat-

ing the switch, to avoid risk of loud noises that could

cause hearing loss or device damage.

Q LIMITER lamps

The lamp lights up when the ampliﬁed signal being output at

the corresponding SPEAKERS jack 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 equip-

ment. Reduce the setting of the MASTER knobs (G

and M) until the lamps ﬂash only brieﬂy or not at all.

R POWER AMP switch

Selects the output that gets sent to the SPEAKERS jacks, as

follows.

Up (MAIN L/R):

SPEAKERS jacks A1 and A2 output the signal from

the MAIN L bus, and SPEAKERS jack B1 and B2

output the signal from the MAIN R bus. The MAIN

section’s MASTER knob G adjusts the output level at

all of the SPEAKERS jacks.

Down (MAIN(L+R)/MON):

SPEAKERS jacks A1 and A2 output a mix of the

signals from the MAIN L and MAIN R buses.

SPEAKERS jacks B1 and B2 output the signal

from the MONITOR bus. The MAIN section’s

MASTER knob G adjusts the level to the A jacks,

while the MONITOR section’s MASTER knob M

adjusts the level to the B jacks.

S YS Processing 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 lack of subwoofers. Note

however that the resulting frequency balance will vary

according to the speakers you are using.

P PHANTOM switch

This switch toggles +15V phantom power on and off. 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 4, and the MIC jacks on channel pairs

5/6 to 11/12). Set this switch on when using one or more

condenser microphones.

T STAND-BY switch

This switch mutes the input to channels 1 to 8. The

switch lights up to indicate that the mute has been turned

on. Note that the mute does not work on channels 9 to 12.

NOTE

When this switch is on, the mixer supplies DC +15V

power to pins 2 and 3 of all XLR input jacks.

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 9 to 12.

• 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, how-

ever, as these will not be affected by phantom power.

U POWER switch and lamp

This switch turns the EMX power ON and OFF. The

lamp lights up to indicate that the power in on.

Before turning the power ON or OFF, be sure to turn

both MASTER knobs (G and M) to “0”.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Controls and Connectors

Rear Panel

V SPEAKERS jacks

W AC IN connector

Use these jacks to connect to speakers. Note that the out-

put directed to these jacks varies according to the setting

of the POWER AMP switch R.

Connects to the included power cord. Connect one end

of the cord to this connector, and then plug the other end

into a standard power outlet.

Please use the cord that comes with the mixer. Use of a

different cord may pose risk of ﬁre, burns, or equip-

ment damage.

A1, B1: Neutrik NL4 Speakon outputs. Polarities are

as shown below.

X 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 elimi-

nate hum noise and interference.

–

1–

2–

A2, B2: Phone output jacks.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Connecting Speakers

When making 2-channel and 2-channel parallel connections to the SPEAKERS jacks, be sure that the impedance of your speak-

ers meets the conditions indicated below. Note that actual speaker impedance varies according to connection method and num-

ber 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

■ 2-channel parallel connection

When connecting by 2-channel connection, use speakers

with impedance of 4 ohms to 8 ohms.

When connecting speakers in parallel as shown below, use

speakers with impedance of 8 ohms to 16 ohms.

4Ω to 8Ω

8Ω to 16Ω

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Horizontal Orientation, Tilting and Rack Mounting

Horizontal Orientation,Tilting and Rack

Mounting

Horizontal Orientation

If you are going to position the EMX unit horizontally, be sure to attach the included rubber stabilizers before use. The stabilizers

prevent the unit from tipping over.

NOTE

Please detach the stabilizers when transporting the unit.

■ How to attach the rubber stabilizers

Turn the EMX unit upside down.

Turn the EMX right-side up.

Attach the two rubber stabilizers that were included

with the unit. Push each stabilizer all the way in so that

they are ﬁrmly in place.

stabilizer

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Horizontal Orientation, Tilting and Rack Mounting

Tilting

Do not push too forcefully when tilting the unit. Excess

force may cause the unit to topple or turn, potentially

resulting in equipment damage or in injury to bystand-

ers.

You can set the EMX unit at an angle, as shown below.

Rack Mounting

To prepare the unit for rack mounting, use the (separately sold) RK512 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 7U of rack space.

Using the kit’s 4 screws, attach the kit’s 2 metal ﬁttings

as shown below.

RK512 Rack mount Kit

Screws

Fittings

Turn the EMX right-side up.

■ How to install the rack-mount hardware

Turn the EMX unit upside down.

EMX512SC/EMX312SC/EMX212S

Download from Www.Somanuals.com. All Manuals Search And Download.

Setting Up

Top panel

NOTE

In most cases it is sufﬁcient to connect speakers

to the SPEAKERS jacks on the unit’s rear

panel. But if you want even more output, you

can get it by connecting a power amp to the

MAIN OUT or MONITOR OUT jack, and then

connecting speakers to the power amp.

Guitar

Speakers

CD, Cassette, or

DAT Recorder

Synthesizer

ASSIGN

PAN

SEND

REVERB

RESONANCE

GATE TIME

CHORUS

TEMPO

REMOTE

ARPEGGIO

CUTOFF

RELEASE

AUDIO

Integrated Sampling Sequencer

MUSIC PRODUCTION SYNTHESIZER

ASSIGN

TONE

OFF

VELOCITY

UNITMULTIPLY

PRE

KNOB

CONTROL

FUNCTION

MODE

ÊARP FX

SLOT

PLG

SLOT

PLG

SLOT

PLG

MASTER

EFFECT