POWERED
POWERED MIXER
MIXER
Owner’s Manual
Quick Guide
Pages 6 to 12
Making the Most of Your Mixer
Pages 13 to 19
EN
Explanation of Graphical Symbols
The lightning flash with arrowhead symbol
within an equilateral triangle is intended to alert
the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUT I ON
RISK OF ELECTRIC SHOCK
DO NOT OPEN
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The above warning is located on the rear of the unit.
IMPORTANT SAFETY INSTRUCTIONS
1
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8
9
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Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11
12
13
14
Only use attachments/accessories specified by the
manufacturer.
Use only with the cart, stand,
tripod, bracket, or table specified
by the manufacturer, or sold with
the apparatus. When a cart is
used, use caution when moving
the cart/apparatus combination
to avoid injury from tip-over.
Unplug this apparatus during
lightning storms or when unused for long periods of
time.
Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally,
or has been dropped.
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
(98-6500)
IMPORTANT
Please record the serial number of this unit in the space below.
Model:
Serial No.:
The serial number is located on the bottom or rear of the unit.
Retain this Owner’s Manual in a safe place for future reference.
2
EMX512SC/EMX312SC/EMX212S
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.
• Use only the included power cord.
• 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.
• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
Do not open
• 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.
• 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.
• Never insert or remove an electric plug with wet hands.
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.
• 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.
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:
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.
• When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
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
the power switch and disconnect the plug from the outlet. Even when the power
switch is turned off, electricity is still flowing to the product at the minimum
level. When you are not using the product for a long time, make sure to unplug
the power cord from the wall AC outlet.
• 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.
Inadequate ventilation can result in overheating, possibly causing damage to the
device(s), or even fire.
• Do not use the device in a confined, poorly-ventilated location. If this device is to
be used in a small space other than an EIA-standard rack, make sure that there is
adequate space between the device and surrounding walls or other devices: at
least 10 cm at the sides, 25 cm behind and 15 cm above. Inadequate ventilation
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 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
• Do not place the device in an unstable position where it might accidentally fall over.
• Do not block the vents. This device has ventilation holes at the 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
overheating, possibly causing damage to the device(s), or even fire.
• 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.
Connections
• Before connecting the device to other devices, turn off the power for all devices.
Before turning the power on or off for all devices, set all volume levels to minimum.
• Use only speaker cables for connecting speakers to the speaker jacks. Use of
other types of cables may result in fire.
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.
• 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
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 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.
• 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.
2/3
EMX512SC/EMX312SC/EMX212S
3
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 qualifi ed 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 : EARTH
BLUE
: NEUTRAL
BROWN
: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals 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.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not
expressly approved by Yamaha may void your authority, granted by
the FCC, to use the product.
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” digital devices. Compliance with these requirements provides a reasonable 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 frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to
the operation of other electronic devices. Compliance with FCC
regulations does not guarantee that interference will not occur in all
installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”,
please try to eliminate the problem by using one of the following
measures:
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 contact Yamaha Corporation of America, Electronic Service Division,
6600 Orangethorpe Ave, Buena Park, CA90620
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 connectors; 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.
4
EMX512SC/EMX312SC/EMX212S
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
■ Basic
Quick Guide
Input Channels..................................... page 20
6
Before Turning On the Mixer........................................ 6
Getting Sound to the Speakers .................................... 7
Adding Some Reverb ................................................. 11
Using the Compressors to Enhance Vocals .............. 12
Making the Most of Your Mixer
13
A Place for Everything and Everything in its Place .... 13
A Plethora of Connectors—What Goes Where? ... 13
Balanced, Unbalanced—What’s the Difference? .. 14
Signal Levels and the Decibel.................................... 15
Making Better Mixes................................................... 15
Approaching the Mix—Where Do You Start? ...... 15
To EQ or Not to EQ.............................................. 16
Ambience ............................................................. 17
The Modulation Effects: Phasing, Chorus,
and Flanging ........................................................ 18
Compression ........................................................ 18
■ Reference
Controls and Connectors
20
Controls on Each Channel ......................................... 20
Digital Effects Section ................................................ 22
MAIN Section ............................................................. 23
MONITOR Section ..................................................... 24
POWER Section ........................................................ 25
Rear Panel ................................................................. 26
Connecting Speakers
Horizontal Orientation, Tilting and
Rack Mounting
27
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, linelevel devices, and stereo devices. For example, you can
mix four microphones with four stereo devices, or seven
microphones with one stereo synthesizer.
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.
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.
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 stronger and more impressive sound.
28
Tilt Setup or Rack Mount ................... page 29
Horizontal Orientation ................................................ 28
Tilting ......................................................................... 29
Rack Mounting ........................................................... 29
The EMX can be positioned at an angle or mounted in a
rack, allowing for easy accessibility in a wide variety of setups.
Setting Up
Troubleshooting
Specifications
30
31
32
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.
EMX512SC/EMX312SC/EMX212S
5
BASIC
Quick Guide
Before Turning On the Mixer
■ Connecting to Power
1
2
3
Be sure that the POWER switch is in the OFF position.
Connect the included power cord to the AC IN connector on the rear panel.
Plug the power cord into a standard power outlet.
■ Turning the Unit On and Off
NOTE
• To prevent an unpleasant burst of noise from the speakers, you should power up the sound sources first, and then the other devices in
order of their distance from the source (starting with the closest).
For example:
Sound source (external device) → EMX unit
When turning power off, proceed in the opposite order.
→ Amps (Powered speakers)
• Before turning power on, make sure that the LEVEL and MASTER knobs are set to the “0” position.
1
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.
Rapidly turning the unit ON and OFF in succession can cause it to malfunction. After turning the unit OFF, wait for about 10 seconds
before turning it ON again.
6
EMX512SC/EMX312SC/EMX212S
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.
5
3
2,7,9
6
2,8
4
1
1
1
Connect up the speakers and your input devices
(microphones, instruments, etc.)
Use non-powered speakers and dedicated speaker cable. Connect one speaker
to SPEAKERS jack A (A1 or A2), and the other to jack 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.
RIGHT
WRONG!!
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.
Neglect of these precautions
may result in large noise bursts
that may damage your equipment, your ears, or both.
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. Connection of both jacks to the
same speaker may result in
damage to the mixer.
EMX512SC/EMX312SC/EMX212S
7
BASIC
Quick Guide
2
Turn the LEVEL knobs and the MASTER knobs to 0.
This position
This position
3
Set the POWER AMP switch to its upper position
(to MAIN L-R).
For information about this switch, see page 25.
8
EMX512SC/EMX312SC/EMX212S
BASIC
Quick Guide
4
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 (
).
5
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 phantom power.
6
Turn on the power.
First turn on the power to all connected devices other than powered speakers
and amp, and then turn on the EMX itself. If using powered speakers or amps,
turn these on last.
• 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.
• 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. It is also recommended 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
9
BASIC
Quick Guide
7
Turn the MASTER knob in the MAIN section to the
posi-
tion.
This position
8
9
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 continuously 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.
10
EMX512SC/EMX312SC/EMX212S
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 environments—such as concert halls and small clubs.
2
3
1
2
3
4
1
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.
1
2
3
4
5
6
7
8
REVERB HALL 1
REVERB HALL 2
REVERB ROOM 1
REVERB ROOM 2
REVERB STAGE 1
REVERB STAGE 2
REVERB PLATE
DRUM AMBIENCE
9
0
A
B
C
D
E
F
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
11
BASIC
Quick Guide
4
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.
1
1
12
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
BASIC
Making the Most of Your Mixer
An Introduction
You’ve got yourself a mixer
and now you’re ready to use it.
Just plug everything in,
twiddle the controls, and
away you go … right?
Well, if you’ve done this
before you won’t have any
problems, but if this is the
first time you’ve ever used a
mixer you might want to
read through this little
tutorial and pick up a few
basics that will help you get
better performance and
make better mixes.
A Place for
Everything and
Everything in its
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.
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.
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 TipRing-Sleeve, which describes the
configuration of the phone plug
used.
The Sturdy XLR
The Versatile Phone Jack
Male
Stereo/TRS phone plug
The Venerable RCA Pin
Jack
Female
White
Red
Mono phone plug
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
This type of connector is
generally referred to as “XLRtype,” and almost always carries a
balanced signal. If the
corresponding circuitry is
designed properly, however, XLR-
EMX512SC/EMX312SC/EMX212S
13
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 (+)
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
Noise-free signal
Cold (–)
Balanced,
Unbalanced—What’s
the Difference?
Phase
inversion
Noise cancelled
Ground
Source
Cable
degree in the mixer’s high-gain
head amplifier.
How Do Balanced Lines
Reject Noise?
** Skip this section if technical
details make you queasy. **
Balanced lines work on the
principle of “phase cancellation”: if
you add two identical signals out
of phase (i.e. one signal is
inverted so its peaks coincide with
the troughs in the other signal),
the result is … nothing. A flat line.
The signals cancel each other
out.
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
14
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
Receiving device
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
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?
BASIC
Making the Most of Your Mixer
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:
Unbalanced noise
Noise
Source
Cable
Receiving device
Faders Down
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 nonlinear 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.
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?
Making Better Mixes
Example1:
Vocal Ballad Backed by
Piano Trio
Approaching the
Mix—Where Do You
Start?
What are you
mixing? Is it a song
in which the vocals
are the most
important element?
Mixing is easy, right? Just move
the faders around until it sounds
right? Well, you can do it that
+ 20 dBu
0 dBu
Most professional mixers, power amplifiers, and other
types of equipment have inputs and outputs with a
nominal level of +4 dBu.
0.775 V
The inputs and outputs on home-use audio gear
usually have a nominal level of –10 dBu.
-20 dBu
-40 dBu
-60 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.
EMX512SC/EMX312SC/EMX212S
15
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
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.
16
EMX512SC/EMX312SC/EMX212S
The fundamental
and harmonic
musical instruments.
frequency ranges of some
Cymbal
Piano
Bass Drum
Snare Drum
Bass
Guitar
Trombone
Trumpet
20 50 100
200
500
1k 2k
5k
10 k
20 k (Hz)
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.
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.
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).
To EQ or Not to EQ
Cut for a Cleaner Mix
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.
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
BASIC
Making the Most of Your Mixer
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.
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.
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
channels in the same way as
external effects processors, with
the extra connections required by,
or the loss in sound quality often
MID Boost
Signal
Level (dB)
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
sometimes you’ll want the “snap”
of a bass guitar, for example, to
come through.
MID Flat
LOW Boost
HIGH Boost
LOW Flat
HIGH Flat
LOW Cut
HIGH Cut
MID Cut
Frequency (Hz)
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.
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.
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 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
EMX512SC/EMX312SC/EMX212S
17
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.
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 (Lowfrequency Oscillator). When we
say “time shift,” however, we’re
not talking in terms of minutes or
even seconds.
For phasing effects the shift is
very small indeed – a difference
measured in degrees of phase
shift rather than time units. The
phase difference between the
modulated and direct signals
causes cancellation at some
frequencies and reinforces the
signal at others – a “comb filter”
effect – and this causes the
shimmering sound we hear.
Phasing is the subtlest of all these
effects, producing a gentle
shimmer that can add life to a
wide range of sources without
being too obtrusive.
For chorus and flanging the signal
is actually delayed by several
milliseconds (a millisecond is a
thousandth of a second), with the
delay time modulated by an LFO,
and recombined with the direct
signal. In addition to the combfilter effect described above, the
delay modulation in these effects
causes a perceived pitch shift
which, when mixed with the direct
18
EMX512SC/EMX312SC/EMX212S
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 otherworldly sonic swoops.
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. Compression can also
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.
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
OUTPUT
(Min)
(Max)
INPUT
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
19
Controls and Connectors
Controls and Connectors
Controls on Each Channel
1 FCL (Feedback Channel Locating) lamp
Channels
1 to 4
(Monaural)
1
Channels
5/6 and 7/8
(Stereo)
1
Channels
9/10 and 11/12
(Stereo)
1
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.
NOTE
2 Equalizer (HIGH, MID, and LOW)
2
3
3
3
4
4
4
5
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.
5
5
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 frequency, and the maximum cut/boost for each of the three
bands.
Band
Type
Base Frequency
HIGH
Shelving
10 kHz
MID
Peaking
2.5 kHz
LOW
Shelving
100 Hz
Maximum Cut/Boost
±15 dB
3 MONITOR control
6
7
9
8
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
20
EMX512SC/EMX312SC/EMX212S
To reduce noise, set the knobs for unused channels to
“0”.
Controls and Connectors
6 COMP knob (EMX512SC and EMX312SC only)
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 compression may lead to
howling.
9 LINE and MIC jacks (Channels 5/6 to 11/12)
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:
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
(
) 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.
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 setting this switch to
LINE or MIC. We also recommend that you turn all
output controls (LEVEL knobs, MASTER knobs, etc.)
to minimum settings before operating the switch, to
avoid risk of loud noises that could cause hearing loss
or device damage.
NOTE
XLR balanced stereo mic-level input jack.
If you are connecting a condenser microphone, be sure to turn the PHANTOM
switch P to its ON position.
• 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.
• Signals into LINE L and LINE R jacks are sent
independently to the corresponding MAIN L and R
buses.
• The signal into a MIC jack is sent in equal levels to
the MAIN L and MAIN 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.
INPUT A:
TRS phone-type balanced line input (T:
hot, R: cold, S: ground). Accepts both balanced and unbalanced line input.
R: Cold (–)
S: Ground
INPUT B:
T: Hot (+)
XLR balanced mic input (1: ground, 2:
hot, 3: cold). If you are connecting a condenser microphone, be sure to turn the
PHANTOM switch P to its ON position.
Cold (–)
Ground
NOTE
Hot (+)
• You cannot use both jacks at the same time.
• The signal into an INPUT jack is sent in equal levels to the MAIN L and MAIN R buses.
EMX512SC/EMX312SC/EMX212S
21
Controls and Connectors
Digital Effects Section
No.
Program
Parameter
9
KARAOKE ECHO
DELAY TIME
0
VOCAL ECHO
DELAY TIME
A
CHORUS 1
LFO FREQ
B
CHORUS 2
LFO FREQ
C
FLANGER
LFO FREQ
D
PHASER
LFO FREQ
E
AUTO WAH
LFO FREQ
F
DISTORTION
DRIVE
A PARAMETER knob
Adjusts the parameter (depth, speed, etc.) associated
with the selected effect type.
0
NOTE
A
B
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 previously 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 internal 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.
C
NOTE
D
The internal effector is automatically turned on whenever 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.
0 PROGRAM dial
Selects the type of effect to be used. You can select from
16 different effect types, as follows.
22
No.
Program
Parameter
1
REVERB HALL 1
REVERB TIME
2
REVERB HALL 2
REVERB TIME
3
REVERB ROOM 1
REVERB TIME
4
REVERB ROOM 2
REVERB TIME
5
REVERB STAGE 1
REVERB TIME
6
REVERB STAGE 2
REVERB TIME
7
REVERB PLATE
REVERB TIME
8
DRUM AMBIENCE
REVERB TIME
EMX512SC/EMX312SC/EMX212S
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 channel pair to “0”.
D FOOT SW jack
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.
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 frequencies 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
E
H
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.
F
The MAIN OUT signal also passes through the internal 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.
G
I MAIN OUT L and R jacks
J
I
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 MASTER 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
23
Controls and Connectors
MONITOR Section
K Graphic Equalizer
K
N
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
M
L
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 MONITOR 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
O
24
EMX512SC/EMX312SC/EMX212S
This unbalanced phone jack outputs the monaural monitor signal. You would typically connect this jack to powered 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.
Controls and Connectors
POWER Section
•
P
Q
R
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, MASTER knobs, etc.) to minimum settings before operating 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 equipment. Reduce the setting of the MASTER knobs (G
and M) until the lamps flash only briefly or not at all.
S
T
U
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
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.
When this switch is on, the mixer supplies DC +15V
power to pins 2 and 3 of all XLR input jacks.
NOTE
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.
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
•
•
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.
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.
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
25
Controls and Connectors
Rear Panel
W
V
X
V SPEAKERS jacks
W 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 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.
A1, B1: Neutrik NL4 Speakon outputs. Polarities are
as shown below.
Please use the cord that comes with the mixer. Use of a
different cord may pose risk of fire, burns, or equipment damage.
1-
1+
Neutrik Plug
A1 and B1 Connectors
1+
+
1–
–
2+
2+
2-
2–
A2, B2: Phone output jacks.
26
EMX512SC/EMX312SC/EMX212S
X Ground Screw
For maximum safety be sure to securely connect the
EMX to an earth connection. The supplied power cable
has a three-prong plug that will 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 eliminate hum noise and interference.
Connecting Speakers
Connecting Speakers
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 connection method and 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
■ 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
4Ω to 8Ω
8Ω to 16Ω
8Ω to 16Ω
8Ω to 16Ω
8Ω to 16Ω
EMX512SC/EMX312SC/EMX212S
27
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
1
Turn the EMX unit upside down.
2
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
28
EMX512SC/EMX312SC/EMX212S
3
Turn the EMX right-side up.
Horizontal Orientation, Tilting and Rack Mounting
Tilting
You can set the EMX unit at an angle, as shown below.
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 bystanders.
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.
RK512 Rack mount Kit
2
Using the kit’s 4 screws, attach the kit’s 2 metal fittings
as shown below.
3
Turn the EMX right-side up.
Screws
Fittings
■ How to install the rack-mount hardware
1
Turn the EMX unit upside down.
EMX512SC/EMX312SC/EMX212S
29
Setting Up
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 A
PAN/SEND
ASSIGN
TONE
ASSIGN B
PAN
REVERB
CUTOFF
RESONANCE
SWING
GATE TIME
ASSIGN 1
CHORUS
ASSIGN 2
TEMPO
ATTACK
RELEASE
VELOCITY
UNITMULTIPLY
REMOTE
ON / OFF
ARPEGGIO
R-AUDIO
G-MIDI
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
ON / OFF
MUSIC PRODUCTION SYNTHESIZER
PRE 1
KNOB
CONTROL
FUNCTION
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
BYPASS
INSERTION SYSTEM
PRE 2
PRE 3
PRE 4
MODE
EFFECT
ÊARP FX
MASTER
EFFECT
VOICE
PERFORM
SLOT 1
DRUM KITS
MASTER
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
GUITAR/
PLUCKED
BASS
STRINGS
SLOT 2
SLOT 3
PLG 2
PLG 3
BRASS
REED/PIPE
CATEGORY
SEARCH
BANK
EQ
FAVORITES
A. PIANO
KEYBOARD
ORGAN
SEQUENCER
SONG
PATTERN
INTEGRATED
SAMPLING
MIXING
EDIT
JOB
A
FILE
SEQ TRANSPORT
DEC/NO
INC / YES
SYN LEAD
DEMO
UTILITY
1
SCENE
SF2
SF1
LOCATE
1
SF3
SF4
B
C
SYN PAD/
CHOIR
SYN COMP
2
D
E
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
3
F
G
H
SE
MUSICAL FX
COMBI
SECTION
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
GROUP
INFORMATION
SF5
2
ELEMENT/PERF. PART/ZONE
COMMON
COMPARE
OCTAVE
DOWN
STORE
F1
F2
F3
F4
F5
F6
SCENE STORE
SET LOCATE
EXIT
ENTER
EXECUTE
9
10
11
NUMBER
SOLO
UP
MASTER
VOLUME
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CD Player
DI
Bass
Power Amp
Foot Switch
(YAMAHA FC5)
Microphones
Microphones
Monitor Speakers
Drums
Rear Panel
EMX Installation
Intake
At least
10 cm
Exhaust
At least
25 cm
Vents are located on the sides and rear of the EMX
unit. Position the unit so that the vents are not blocked
by nearby walls or objects.
30
EMX512SC/EMX312SC/EMX212S
Troubleshooting
Troubleshooting
■ Power doesn’t come on.
❑ Be sure that you are using the supplied power cord, and that it is correctly
connected to the AC IN connector and plugged into a working power outlet.
■ Power suddenly went off.
❑ Check whether the vents at the sides and rear of the unit are blocked.
The EMX unit may overheat if the vents are blocked. If the unit overheats,
the power may automatically go off. Wait for the unit to cool down, and
then turn the power back on.
■ Sound suddenly
❑ Check whether the vents at the sides and rear of the unit are blocked.
The EMX unit may overheat if the vents are blocked. If the unit overheats,
it may cut off the output to the internal amp until things cool down.
stopped.
■ No sound.
❑ Are microphones, external devices, and speakers connected correctly?
❑ Are the channel LEVEL knobs and the two MASTER knobs set to appropriate levels?
❑ Check that the speaker cables are not shorted.
❑ If the above checks do not identify the problem, call Yamaha for service.
(Refer to the end of this manual for a list of Yamaha dealers.)
■ Sound is faint, distorted,
❑ Check that the channel LEVEL knobs and the two MASTER knobs are set
appropriately.
❑ Check that the LINE/MIC switches on channels 1 to 4 are set correctly.
❑ On channels 1 to 4, be sure that you have not connected to both INPUT A
and INPUT B. On each of these channels you may use one input or the
other, but not both.
❑ Is the input signal from the connected device set to an appropriate level?
or noisy.
■ An FCL lamp comes
even though there is no
howling on the channel.
■ Can’t hear the internal
digital effect.
■ The sound from the
speakers seems dull.
I want a more forceful
sound.
■ I want spoken words to
be heard more clearly.
■ I want to listen to monitor output.
❑ Input of a continuous sound (from a CD player or other such source) may
cause the lamp to come on even in the absence of howling.
❑ Check that the EFFECT knob on each channel is correctly adjusted.
❑ Be sure that the internal effector’s ON switch is turned on.
❑ Be sure that the EFFECT RETURN knobs in the MAIN and MONITOR
sections are correctly adjusted.
❑ Try turning on the YS Processing switch.
❑ Adjust the equalizers (HIGH, MID, and LOW knobs) on each channel.
❑ Adjust the graphic equalizers.
❑ Be sure that the YS Processing switch is turned off.
❑ Adjusting the equalizers (HIGH, MID, and LOW knobs) on each channel.
❑ Adjusting the graphic equalizers.
❑ Connected a powered speaker to the MONITOR OUT jack. Then adjust
the MONITOR OUT signal by adjusting the channel MONITOR knobs and
the MONITOR section’s MASTER knob.
❑ If you want to send the monitor signal to SPEAKERS jacks B1 and B2, set
the POWER AMP switch to the down position (to MAIN(L+R) / MON).
Note that in this case the B jacks will output the monitor signal, and the A
jacks will output a mix of the MAIN L and MAIN R signals.
EMX512SC/EMX312SC/EMX212S
31
Specifications
Specifications
■ General Specifications
Output
EMX512SC
Maximum Output Power
SPEAKERS OUT
EMX312SC
EMX212S
Input
Frequency Response
Maximum Voltage
Gain@ 1 kHz
CH INPUT 1-11/12
CH 1-4 INPUT B,
CH 5/6-11/12 MIC
RL
4Ω
8Ω
4Ω
8Ω
4Ω
8Ω
Output
MAIN OUT, MONITOR OUT,
EFFECT OUT, REC OUT
SPEAKERS OUT
MAIN OUT, MONITOR OUT
MAIN OUT
CH 1-4 INPUT B,
CH 5/6-11/12 MIC
Gain Error @ 1 kHz
MONITOR OUT
EFFECT OUT
REC OUT
It measures in each CH unit.
CH 1-4 INPUT A
MAIN OUT
Conditions
Both ch drive, 1 kHz,
THD+N =< 0.5%
RL
It measures in each CH unit.
Conditions
10 kΩ CH1-4 MIC/LINE: MIC
20 Hz-20 kHz, 0 dB
4 Ω @ 1 kHz
Rs=150 Ω CH1-4
10 kΩ MIC/LINE:MIC
Input level:–60 dBu
CH1-4 MIC/LINE:MIC
Input level:–60 dBu
CH1-4 MIC/LINE:MIC
Input level:–60 dBu
CH1-4 MIC/LINE:MIC
level:–60 dBu
10 kΩ Input
CH1-4 MIC/LINE:MIC
Input level:–50 dBu
MIC/LINE:MIC
CH 5/6-7/8 LINE
MAIN OUT
(Phone)
CH 9/10-11/12 LINE MAIN OUT
(Pin)
Total Harmonic Distortion
MIN
US
500
350
300
190
220
130
AU
500
350
300
190
220
130
EU
500
320
300
180
220
130
UNIT
MIN
TYP
MAX
UNIT
–3.0
0.0
1.0
–3.0
0.0
1.0
65
4.0
6.0
2.0
4.0
6.0
–8.0
–6.0
–4.0
–12.0
–10.0
–8.0
2.0
4.0
6.0
Input level:–20 dBu
2.0
4.0
6.0
Input level:–20 dBu
2.0
4.0
6.0
MAIN OUT, MONITOR OUT,
EFFECT OUT, REC OUT
dBu @ 20 Hz,
10 kΩ +14
1 kHz, 20 kHz
CH 1-4 INPUT B,
CH 5/6-11/12 MIC
MAIN OUT
CH INPUT 1-11/12
MAIN OUT, MONITOR OUT,
EFFECT OUT
EIN, Rs=150 Ω CH1-4
MIC/LINE:MIC
10 kΩ Output Noise
Rs=150 Ω CH1-4
MIC/LINE:MIC
MAIN OUT L, R
MONITOR OUT
SPEAKERS OUT
10 kΩ Master control at
minimum.
4Ω
dB
dB
2.0
CH INPUT 1-11/12
W
0.5
dBu
dBV
dBu
%
(THD+N)
Hum & Noise
(20 Hz-20 kHz)
It measures in each CH unit.
EIN=Equivalent Input Noise
Residual Output Noise
(20 Hz-20 kHz)
—
Input
Crosstalk @ 1 kHz
It measures in each CH unit.
Phantom Voltage
It measures in each CH unit.
CH & ST CH Equalization
Internal Digital Effect
Level Meters
FCL Sensitivity
Protection
32
CH1-4
Output
CH 1-4 INPUT B,
CH 5/6-11/12 MIC
Output
Adjacent CH inputs
Conditions
–115
dBu
–50
–90
–90
–65
MIN
TYP
Input to Output (LEVEL
controls: minimum)
MAIN OUT
—
—
No load
MAX
–65
–65
UNIT
dB
MIN
TYP
MAX
UNIT
14
15
16
V
HIGH
Turn over /roll-off frequency of
10 k (shelving)
shelving :3dB below maximum
MID
2.5
k (peaking)
variable level.
LOW
±15dB maximum
100 (shelving)
16 programs
Parameter control
FOOT SW
ON/OFF
2 × 5-points LED level meter [MAIN(L,R)], 5-points LED level meter [MONITOR]
+6, +3, 0, –5, –10 [dB]
Input signal level => –75dBu: LED on, CH1-4 MIC/LINE:MIC B Input, CH 5/6-11/12 MIC Input
POWER switch on/off mute
DC-fault :power supply shutdown /manual reset
Power Amplifier
Thermal /heatsink temp => 90˚C:output mute /auto reset
Vl limiter /RL =< 2 Ω
Clip limiter /THD => 1 %, Indicator × 2
Power Supply
Thermal /heatsink temp => 100˚C :power supply shutdown /manual reset
EMX512SC/EMX312SC/EMX212S
dBu
Hz
Specifications
MIN
EMX512SC
EMX312SC
EMX212S
Length
Height
Depth
Width
Power Consumption
AC Cord
Dimensions
2450
Net Weight
TYP
500
450
300
2500
284
264
442.5
8
MAX
UNIT
W
2550
mm
mm
kg
Power cord, Rubber stabilizers × 2, Owner’s Manual
RACK MOUNT KIT (RK512), FOOT SW (FC5)
Included Accessories
Options
Note: All level control normally: Maximum level, Output impedance of signal generator :150 ohm
■ Input Characteristics
Input Terminals
MIC/LINE
Actual
Load
Impedance
For Use with
Nominal
MIC
XLR
2 kΩ
50–600 Ω Mics
6 kΩ
600 Ω Lines
LINE
CH INPUT 1-4
MIC
Phone
LINE
CH INPUT
5/6, 7/8
CH INPUT
9/10, 11/12
Input Level
Sensitivity *2
Nominal
(▼ position)
Max. before
Clip
–60 dBu
(0.775 mV)
–35 dBu
(13.8 mV)
–15 dBu
(138 mV)
–30 dBu
(24.5 mV)
–5 dBu
(436 mV)
+15 dBu
(4.36 V)
–50 dBu
(2.45 mV)
–25 dBu
(43.6 mV)
–5 dBu
(436 mV)
–20 dBu
(77.5 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
Connector
XLR-3-31 type *3
Phone Jack *4
XLR
—
2 kΩ
50–600 Ω Mics
–60 dBu
(0.775 mV)
–35 dBu
(13.8 mV)
–15 dBu
(138 mV)
XLR-3-31 type *3
Phone
—
10 kΩ
600 Ω Lines
–20 dBu
(77.5 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
Phone Jack *5
XLR
—
2 kΩ
50–600 Ω Mics
–60 dBu
(0.775 mV)
–35 dBu
(13.8 mV)
–15 dBu
(138 mV)
XLR-3-31 type *3
Pin
—
10 kΩ
600 Ω Lines
–20 dBu
(77.5 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
RCA Pin Jack
*1 0 dBu is referenced to 0.775 Vrms.
*2 Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to maximum level.
(All level controls are at maximum position.)
*3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
*5 Phone Jacks are unbalanced.
■ Output Characteristics
Output Level
Output Terminals
Actual Source
Impedance
For Use with
Nominal
SPEAKERS
[A1, A2, B1, B2]
0.1 Ω
4 Ω Speakers
EMX212S
50 W
220 W
MAIN OUT [L, R]
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
EFFECT OUT
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
MONITOR OUT
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
–10 dBV (316 mV) +10 dBV (3.16 V)
RCA Pin Jack
Nominal
Max. before Clip
EMX512SC
125 W
500 W
EMX312SC
75 W
300 W
REC OUT [L, R]
600 Ω
10 kΩ Lines
—
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
Connector
[A1, B1] SPEAKON
[A2, B2] Phone Jack
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.
EMX512SC/EMX312SC/EMX212S
33
Specifications
264
Dimensional Diagrams
442.5
2
286
440
284
2.5
307.8
66.1
71
298
71
108
54
66.1
Unit: mm
34
EMX512SC/EMX312SC/EMX212S
Specifications
Block Diagram and Level Diagram
EMX512SC/EMX312SC/EMX212S
35
For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
ASIA
POLAND
Yamaha Music Europe GmbH
Branch Sp.z o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: 022-868-07-57
THE NETHERLANDS/
BELGIUM/LUXEMBOURG
Yamaha Music Europe Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
BRAZIL
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,
CEP 04534-013 Sao Paulo, SP. BRAZIL
Tel: 011-3704-1377
Yamaha Música Ibérica, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Olga Cossettini 1553, Piso 4 Norte
Madero Este-C1107CEK
Buenos Aires, Argentina
Tel: 011-4119-7000
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: +507-269-5311
EUROPE
THE UNITED KINGDOM
Yamaha Music U.K. Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Europe GmbH
Branch Switzerland in Zürich
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
CZECH REPUBLIC/SLOVAKIA/
HUNGARY/SLOVENIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-602039025
INDIA
Yamaha Music India Pvt. Ltd.
5F Ambience Corporate Tower Ambience Mall Complex
Ambience Island, NH-8, Gurgaon-122001, Haryana, India
Tel: 0124-466-5551
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,
Kangnam-Gu, Seoul, Korea
Tel: 080-004-0022
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1, Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
SINGAPORE
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A, DK-2730 Herlev, Denmark
Tel: 44 92 49 00
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1, N-1345 Østerås, Norway
Tel: 67 16 77 70
Yamaha Music Asia Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: 02-2511-8688
THAILAND
RUSSIA
Yamaha Music (Russia)
Office 4015, entrance 2, 21/5 Kuznetskii
Most street, Moscow, 107996, Russia
Tel: 495 626 0660
OTHER EUROPEAN COUNTRIES
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
GERMANY
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
Yamaha Music & Electronics (China) Co.,Ltd.
2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,
Shanghai, China
Tel: 021-6247-2211
MALAYSIA
SWEDEN
ARGENTINA
THE PEOPLE’S REPUBLIC OF CHINA
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LOB 16-513, P.O.Box 17328, Jubel Ali,
Dubai, United Arab Emirates
Tel: +971-4-881-5868
Siam Music Yamaha Co., Ltd.
4, 6, 15 and 16th floor, Siam Motors Building,
891/1 Rama 1 Road, Wangmai,
Pathumwan, Bangkok 10330, Thailand
Tel: 02-215-2626
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2317
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: 3-9693-5111
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA24
Yamaha Pro Audio global web site
http://www.yamahaproaudio.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2005 Yamaha Corporation
WE29640 904CRAP2.3-12D0
Printed in China