Yamaha EM-100II Owner's manual

Yamaha EM-100II Owner's manual
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How to use
this manual
Yamaha EM-Mixers are equipped with features
and capabilities unique among mixers in their
price range. To take the best advantage of your
mixer, we recommend careful reading of this
Instruction Manual . . . even if you already have
a good general understanding of mixers. The
setups on the following pages are meant only
as guidelines. We have attempted to cover many
applications. It would be impossible to cover
all conceivable setups, which are infinite as your
own Imagination.
index
SECTION ONE
Brief Operating Instructions
Functional descriptions of each control, each
meter, and the input/output/accessory jacks.
Also, mixer specifications. .
SECTION TWO
Introduction
A general description of the EM-Mixers, their
features and capabilities, and how to use them.
SECTION THREE
Detailed Instructions
Detailed descriptions of operating procedures,
control functions, jack functions, and
connections to speakers and accessory
equipment.
SECTION FOUR
Applications
Detailed discussion of several applications
from sound reinforcement (PA) to recording.
SECTION FIVE
Balanced Input Transformer Modules
Installation instructions for balanced input
transformer modules or Yamaha EM-150IIB,
- EM-200B and EM-300B.
Block Diagrams
Troubleshooting
Warranty and Service
The EM-Mixer Warranty, and what to do if
you should encounter any problems. Also, a
procedure to verify proper performance.
10
14
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Brief Operating Instruction
NOTE: Be sure the AC POWER switch is turned OFF
when making all signal and speaker connections.
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FRONT PANEL
A.
Pan This knob feeds the input channel signal to a
pair of mix buses to create the stereo program mix
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(Left and Right program buses). The stereo program
bus then feeds the Speaker, Line, and Headphone
outputs via the Master Program faders.
Monitor 1 Send (Rev/Echo) This knob feeds the
input signal to the mix bus which, in turn, feeds the
Monitor 1 output. The same bus also drives the
built-in reverb or external reverb/echo (effects)
units; the send is post-EQ and fader.
Monitor 2 Send This knob feeds a pre-EQ and pre-
fader signal to a second monitor mix bus which,
in turn, feeds the Monitor 2 output.
High and Low EQ Controls These continuously
adjustable knobs allow for £15 dB of bass and
treble equalization on each input channel. Response
is “flat” at center position. | |
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Input Level Selector Switch This switch adjusts the
input channel's sensitivity for best results with
different input sources. For Models EM-10011 and
EM-150!1B this switch is a 3-position slide switch
(Line/Instr/Mic). On the EM-2008 and EM-3008,
the level switch is a b-position rotary knob.
Channel Fader On Models EM-10011 and EM-15011B
rotary faders set the mix level of each channel.
Models EM-200B and EM-300B have smooth linear
slide faders that also provide a good visual indication
of the mix-level for each channel.
. VU Meters Two meters indicate the average speaker
power output level. On the EM-300B, an additional
set of meters indicates the average output level of
the two Monitor mix buses. The meters are
illuminated when AC POWER is ON.
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H. Graphic Equalizer (Except on EM-10011) Two banks K. Headphones Jack This TRS (tip-ring-sleeve) stereo
of linear slide controls independently vary the phone jack can be used with any stereo headphones.
frequency response of the Left and Right Program It carries the same signal as the Speaker outputs, but
outputs. There are seven G-EQ controls per channel at lower level. The headphone volume is controlled
on the EM-150118 and nine controls per channel on by the Master Program faders.
the EM-200B and EM-300B. Center detents mark the L. Auxiliary Volume These controls set the level of any
“flat” position (no EQ effect) for each control. program fed to the mixer via the Left and Right Aux
I. Aux Pan (Models EM-200B and EM-300B only) These Input jacks. Following these controls, the aux inputs
controls position the Aux 1 and Aux 2 Input signals are also affected by the Master Program faders.
Left-to-Right on the stereo program bus. | M. Master Program Faders (Left and Right) These
J. Master Reverb/Echo This control sets the level at controls adjust the level of corresponding Left and
which the returning Reverb/Echo signal (or the Right program mixing buses which simultaneously
reverb from the built-in spring) is mixed into the feed the Speaker, Graphic EO, Line, and Headphone
stereo program bus. (The mono signal is applied outputs.* The Master Program faders DO NOT affect
equally to the Left and Right program mix buses the mixer's Monitor or Echo outputs.
and is thus a “center” effects return.) If the Echo N. Master Monitor Faders (1 8: 2) These controls adjust
Return jack is used-as an auxiliary monaural line the overall level of the Monitor Outputs.
input, Master Reverb/Echo adjusts the level of the :
“auxiliary” input source. ~~ *NOTE: In this manual, we use the terms “stereo program bus”
and “Left and Right program mixing buses” interchangeably.
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REAR PANEL
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Power Switch This toggle switch has two “ON”
positions that reverse the AC power line polarity.
Choose the ÓN position with least hum.
Low Impedance Channel Inputs These low-
impedance XLR connectors accept inputs such as
professional low-impedance microphones and
electronic musical instruments having low impedance
outputs. The XLR inputs are unbalanced,” but may
be converted to balanced (floating) inputs by the
addition of easy-to-install optional “Balancing
Transformer Modules” (not available for the
EM-100HH).
High Impedance Channel Inputs These TS (tip-sleeve)
phone jacks are designed for high or medium
impedance microphones, low-level instruments
(like electric guitars or instruments with pick-ups),
or high level instruments (such as key boards).
AC Power Cord This 3-wire cord is for connection
to any 110-120 V AC, 50 or 60 Hz grounded outlet.
*NOTE: The terms balanced and unbalanced, as used in this
manual, have nothing to do with stereo perspective or signal
level. Balanced refers to a 2-conductor shielded cable in which
neither signal-carrying wire is grounded.
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Fuse Holders Always replace the fuses with the same
| size and type (AGC or equivalent).
. Speaker Output Jacks These standard phone jacks are
Left and Right speaker-level outputs from the built-
in stereo power amplifier. There are two paralleled
jacks per channel; this internal “Y” adapter is pro-
vided as a convenience to power two separate sets of
speakers simultaneously. (Refer to page 11).
Normally, the Program mixing buses feed the
speaker outputs, and both jacks from each power
amp channel are simultaneously controlled by the
corresponding Master Program faders. The Power
Amp In jacks do permit other signal sources to feed
the speaker outputs (in lieu of the stereo program
mix), such as the monitor mix buses or even an
external mixer or keyboard.
. Power Amp Inputs These jacks permit the con-
nection of any line-level low or high impedance
signal directly to the mixers power amplifier,
replacing the internal signal flow from the stereo pro-
gram mix. The jacks are useful for inserting a com-
pressor/limiter ahead of the power amp.
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CAUTION: NEVER CONNECT THE MIXER'S
SPEAKER OUTPUTS, OR ANY OTHER SPEAKER-
LEVEL SIGNAL, TO THE POWER AMP OR G-EQ
INPUTS.
H.
Graphic EQ Outputs (Not on EM-10011) These jacks
feed the signal from the two Graphic Equalizers to -
any line-level high impedance input, for instance an
additional external power amplifier or a compressor/
limiter. The signals are also applied, internally, to
the mixer's stereo power amplifier, regardless of
whether these jacks are in use.
Graphic EQ Input Jacks (Not on EM-10011) These
standard phone jacks connect a line-level, high-
impedance source into the Left and Right Graphic
Equalizers, replacing the normal, internal signal
flow from the Mixer’s line outputs to the Graphic
EQ inputs.
Line Output Jacks These standard phone jacks are
high-impedance, line-level outputs carrying the Left
and Right program mix.
. Monitor Output Jacks These standard phone jacks
are high impedance line-level outputs carrying the
respective Monitor 1 & 2 mixes. They are con-
trolled by the Master Monitor faders (the Master
Program faders have no effect here).
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. Echo Return Jack This standard phone jack accepts
the output of an external echo device or any other
high-impedance, line-level source. Return level is
controlled by the Master Reverb/Echo control. Use
of this jack disconnects the internal Reverb spring.
Note: If Echo Send is patched directly into Echo
return, the Monitor 1 bus may be used for a group
submix (positioned at stereo center); the subgroup
level is then set by Master Reverb/Echo.
. Echo Send Jack This standard phone jack feeds the
mixed signal from all channels’ Monitor 1 controls to
an external echo, reverb, or digital delay device. Not
affected by the Master Reverb/Echo control, Echo
Send can be used as a mono auxiliary low-level line
output (—20 dB) when the Monitor 1 output level
(+4 dB) is too high.
. Monitor Sub Input Jacks These high-impedance
standard phone jacks apply line-level, low or high
impedance inputs directly to the Monitor 1 & 2
mix buses. The Monitor Sub Inputs are subject to
the Master Monitor faders.
. Auxiliary Input Jacks These Left and Right standard
phone jacks apply line-level, high impedance inputs
to the Left and Right Program Mixing buses. Incom-
- ing signal level is controlled bythe Aux Volume
controls and the Master Program faders.
GENERAL SPECIFICATIONS
MODEL : EM-100H EM-150IB EM-2008 EM-300B
_ CHANNEL 1 to 6 (HI-Z& CHANNEL 1 to 8 (HI-Z a
LO AUX IN LaR), | | SO AS ANA | SOTA hd /Lire EM-2008, but 12 channel
: ), & 2), ike - , but 12 channe
NUMBER OF INPUTS MONITOR SUB IN (182). | ECHO RETURN, GRAPHIC | ECHO RETURN, GRAPHIC inputs.
AMP IN (L&R) EQ IN (L&R), POWER AMP | EQ IN (L&R), POWER AMP
IN{L&R). IN (L&R).
INPUT CHANNEL VOLUME, INPUT LEVEL (—50/—35/—-20 dB* sensitivity FADER, INPUT LEVEL (—50/—40/—30/-20/+4 dB*
CONTROLS selector switch), HIGH-EQ, LOW-EQ, MONITOR 1 sensitivity selector switch), HIGH-EQ, LOW-EQ, MONITOR 1
(REV/ECHO), MONITOR 2, PAN (REV/ECHO), MONITOR 2, PAN
MIXING BUSES Program (L & R), Monitor {1 & 2). .
MONTE DOT 142) ECHO SPE
R OUT (182), AKERS (Lá RX2), MONITOR OUT (1 82), ECHO SEND, LINE OUT (LááR),
NUMBER OF OUTPUTS SEND, LINE QUT (L&R), GRAPHIC EQ OUT (L&R), PHONES (stereo).
PHONES (stereo).
PROGRAM (L&R), MONITOR (1&2), REVERB/ECHO, PROGRAM faders (L & R), MONITOR faders (1 & 2),
MASTER CONTROLS AUX IN (L&R). REVERB/ECHO, AUX IN (182), AUX PAN (182).
Built-in Accutronics spring-type reverberation unit;
ECHO AND REVERB provisions for connection of external reverb, echo delay or other effects devices.
80 dB, CHANNEL IN to 82 dB, CHANNEL IN to
78 dB, CHANNEL IN to SPEAKER OUT; SPEAKER OUT;
SPEAKER OUT; 54 dB, CHANNEL IN to 54 dB, CHANNEL IN to
54 dB, CHANNEL IN to MONITOR OUT; MONITOR OUT;
MONITOR OUT; 30 dB, CHANNEL IN to 30 de, CHANN EL IN to
30 dB, CHANNEL IN to ; ECH END;
MAXIMUM VOLTAGE GAIN ECHO SEND: 54 dB. CHANNEL IN to 54 dB. CHANNEL IN to
54 dB, CHANNEL IN to . LINE OUT; LINE QUT;
LINE OUT; 54 dB, CHANNEL IN to 54 dB, CHANNEL IN to
48 dB, AUX IN to G-EQ OUT; G-EQ OUT;
SPEAKER OUT. 50 dB, AUX IN to 52 dB, AUX IN to
SPEAKER OUT. SPEAKER QUT.
CHANNEL EQUALIZATION LOW-EQ, +15 dB max. at 100Hz; HIGH-EQ +15 dB max. at 10 kHz, shelving characteristic.
+12 dB max. at 60 Hz, 150 Hz,
GRAPHIC EQUALIZATION N/A 400 Hz, 1 kHz, 2.5 kHz, +12 dB max. at 63 Hz, 125 Hz, 250 Hz, 500 Hz,
(Speaker Outputs) ©. 5 kHz 810 kHz, “flat” at 1 kHz, 2 kHz, 4 kHz, 8 kHz & 16 kHz; “flat” at center detents.
center detents.
CROSSTALK : —55 dB € 1 kHz, adjacent inputs or input-to-output.
AMPLIFIER TYPE All solid state, discrete and integrated circuit (1C).
POWER REQUIREMENTS [|!20 V e SD or 60 Hz, 3-wire | Like EM-1001), but 170 watts. | Like EM-100II, but 290 watts. | Like EM-1001, but 400 watts.
One 3 ampere, AGC One 7 ampere, AGC Two 5 ampere, AGC type, in | Two 7 ampere, AGC type, in
AC MAINS FUSE(S) | type fuse. type fuse. parallel configuration. parallel configuration.
OUTPUT PROTECTION Output power delivered to speakers decreases as load impedance falls below 2.5 ohms; relay mutes input to power
amplifier to protect speakers from Turn-ON or Turn-OFF transients.
Like EM-100Il, but OVU=70 W.
2 illuminated Speaker Out 2 illuminated Monitor VU
INDICATOR (S} VU meters; 0 VU=25 watts |Like EM-100I1, but OVU=38 W.Like EM-10011, but OVU=43 W. meters, O VU= +4 dB* into
into 8 ohms. “10 kohms.
PHYSICAL DIMENSIONS
WXHXD: 56X<17.1X47 cm 56 x 21.4 x50.8 cm 62.1x22.9X63.1 cm 78.7 x22.9X63.1cm
(22X6% Xx 182") (22 X8% X20") | (24/X9X 247%") (31X9X 247")
Weight: 16 Ка (35.3 65.) ‚ 24.5 Ка (54 Ibs.) 28 kg (61.7 Ibs.) 35 kg (77.2 Ibs.)
FINISH Black, with protective aluminum trim.
WARRANTY Limited, one (1} year on parts & labor,
SPEAKER OUTPUT PERFORMANCE
POWER OUTPUT/CHANNEL
(Measured at 0.5% THD point; 50 watts into 8 ohms 75 watts into 8 ohms 85 watts into 8 ohms 140 watts into 8 ohms
continuous RMS voltage @ 1 kHz; 45 watts into 8 ohms |@ 1 kHz; 65 watts into 8 ohms|@ 1 kHz; 75 watts into 8 ohms| @ 1 kHz; 120 watts into 8 ohms
squared/load; both channels @ 20 Hz to 20 kHz. @ 20 Hz to 20 kHz. @ 20 Hz to 20 kHz. @ 20 Hz to 20 kHz.
riven. |
+1 dB, 30 nz to 15 kHz, +1 as 20 “ro 12 shiz. ке ЕМ-200В
+1 dB, -3 dB, 20 Hz to Like EM-10011, but measured +1 dB, —3.dB, 20 Hz to | Like EM-200B, but measured
FREQUENCY RESPONSE 20 kHz, at 25 watts output at 35 watts output. 30 kHz, at 40 watts output at 60 watts output.
into 8 ohms. into 8 ohms.
Less than 0.2%. @ 1 kHz : ,
TOTAL HARMONIC (45 W/8 ohms); Like EM-1001l, but measured | Like EM-1001I but measured | Like EM-1001l, but measured
DISTORTION (THD) Less than 0.5%, 20 Hz to at 65 watts output. at 75 watts output. at 120 watts output.
| 20 kHz (45 W/8 ohms). |
INTERMODULATION Less than DAT O Hz & 7 kHz | Like EM-100I, but measured | Like EM-10011, but measured | Like EM-1001l, but measured
DISTORTION (IM) E ohms) atts into at 35 watts output. at 40 watts output. at 60 watts output.
—40 dB* —38 dB* —37 dB*
MT ADISE”* (MASTER VOLUME max.) | (MASTER VOLUME max.) (MASTER FADER max.)
(ONE INPUT VOLUME max.) | (ONE INPUT VOLUME max.) (ONE INPUT FADER max.)
PROGRAM BUS . —44 dB* | —48 dB*
OUTPUT NOISE** (MASTER VOLUME max.) (ALL INPUT VOLUME min.) (MASTER FADER max.) (ALL INPUT FADER min.)
EQUIVALENT INPUT |
NOISE** (UNBALANCED | —118 dBm.
VERSION) |
EQUIVALENT INPUT
NOISE** (BALANCED — | —118 dBm.
VERSION) |
MONITOR OUTPUT PERFORMANCE
FREQUENCY RESPONSE +1 dB, 30 Hz to 15 kHz: +1 dB, —3 dB, 20 Hzto30 kHz. +1 dB, 20 Hz to 15 kHz; +1 dB, —3 dB, 20 Hz to 30 kHz.
TOTAL HARMONIC | 9 - % 20 Hz to 20 kHz, (at +10 dB* into 10 koh
DISTORTION (THD) Less than 0.2%, € 1 kHz; Less than 0.5%, 20 Hz to * ( ohms).
INTERMODULATION os | 9 7 kHz mixed 4:1 {at +10 dB* into 10 kohms).
DISTORTION (IM) Less than 0.5%, 70 Hz & 2
EQUIVALENT INPUT NOISE** | | | —118 dBm. -
—71 dB* Master volume at maximum & ali Input volume controls at minimum;
OUTPUT NOISE™ Sod dB“ Master volume and one Input volume control at maximum.
*0 dB is referenced to 0.775 V RMS. |
1
**Measured with a 6 dB/octave filter @ 12.47 kHz; equivalent to a 20 kHz filter with intinite dB/octave attenuation.
6
INPUT CHARACTERISTICS
Connection Level Actual Load For Use w/Nominal | Input Level Connector
Switch Impedance Nominal Max. Before Clip in Mixer**
| LO-Z HI-Z LO-Z HI-Z
CHANNEL —50* 1 kohm 20 kohms 150-600 ohms 3 k—10 kohms —50 dB (2.5 mV) —22 dB (6.2 mV)
INPUTS —40 1 kohm 20 kohms 150—600 ohms 3 k—10 kohms —40 dB (7.8 mV) — 12 dB (193 mV) XLR-3-31
(1—6, 8 or 12) —35* 1 kohm 20 kohms 150—600 ohms 3 k—10 kohms ~35 dB (14 mV) —7 dB (346 mV) and Phone
(UNBALANCED —30 1 kohm 20 kohms 150—600 ohms 3 k—10 kohms —30 dB (25 mV) —2 dB (616 mV) jack (XLR is
VERSION) —20* | 1 kohm 20 kohms 150—600 ohms 3 k—10 kohms —20 dB (78 mV) +8 dB (1.93 V) unbalanced}
+4 1 kohm 20 kohms 150—600 ohms 3 k—10 kohms +4 dB (1.23 V) +32 dB (31 V)
LO-Z HI-Z LO-Z HI-Z
CHANNEL —50* 1 kohm 20 kohms 50—600 ohms 3 k—10 kohms —50 dB (2.5 mV) —22 dB (6.2 mV)
INPUTS —40 1 kohm 20 kohms 50—600 ohms 3 k—10 kohms --40 dB (7.8 mV) — 12 dB (193 mV) XLR-3-31
(BALANCED —35* 1 kohm 20 kohms 50—600 ohms 3 k—10 kohms —35 dB (14 mV) — 7 dB (346 mV) and Phone
OPTION ON —30 1 kohm 20 kohms 50—600 ohms 3 k—10 kohms —30 dB {25 mV) —2 dB (616 mV) jack (XLR is
EM-1501183, EM- —20* 1 kohm 20 kohms 50—600 ohms 3 k—10 kohms —20 dB (78 mV) +8 dB (1.93 V) balanced)
200B, EM-300B) +4 *** 20 kohms жж* 3 k—10 kohms +4 dB (1.23 V) +32 dB (31 V) |
AUX IN (1,2 or L,R) 30 kohms 5 kohms —20 dB (78 mV) — Phone jack
ECHO RETURN 30 kohms 5 kohms —30 dB (25 mV) — Phone jack
GRAPHIC EQ IN (L,R)**** 100 kohms 5 kohms +4 dB (1.23 V) +18 dB (6.2 V) Phone jack
MONITOR SUB IN (1,2) 30 kohms 5 kohms +4 dB (1.23 V) +24 dB (12.3 V) Phone Jack
POWER AMP IN (L,R) 30 kohms 5 kohms N/A +4 dB (1.23 V) Phone jack
*EM-1001 and EM-150118 offer only these switch settings; EM-2008 and EM-3008 offer all settings except “— 35"
**All connections are unbalanced; XLR CHANNEL IN connectors may be balanced (floated) with optional plug-
***Do not use LO-Z XLR Input when Input Level Switch is in +4 position and transformer option is installed; Hi-
****Not provided on EM-100I.
OUTPUT CHARACTERISTICS
in transformer modules (except EM-10011).
Z phone jack input may be used.
Connection Actual Source For Use w/Nominal Output Level Connector
Impedance Nominal Max. Before Clip in Mixer**
SPEAKER OUT (L,R) 8 ohms*
W/ch TOTAL
EM-1001 0.13 ohms 8 ohms | N/A 50 W 100 W
EM-1501B 75W 150 W Phone jack
EM-200B 0.065 ohms 8 ohms N/A 85W 170 W
EM-300B 140 W 280 W
LINE OUT (L,R)
EM-10011 390 ohms 600 ohms O dB (775 mV) +14 dB (3:9 V)
EM-15018 10 kohms +4 dB (1.23 V) +18 dB (6.2 V) Phone jack |
EM-200B 390 ohms 600 ohms O dB (775 mV) +14 dB (3.9 V)
EM-300B 10 kohms +4 dB (1.23 V) +18 dB (6.2 V)
MONITOR OUT (L,R) 600 ohms O dB (775 mV) +14 dB (3.9 V) ,
390 ohms 10 kohms +4 dB (1.23 V) +18 dB (6.2 V) Phone jack
GRAPHIC EQ OUT (L,R)
. 600 ohms O dB (775 mV) +14 dB (3.9 V)
EM-15018 390 ohms 10 kohms +4 dB (1.23 V) +18 dB (6.2 V) phone jack
EM-200B 390 ohms 600 ohms O dB (775 mV) +14 dB (3.9 V)
EM-300B 10 kohms +4 dB (1.23 V) +18 dB (6.2 V)
ECHO SEND 220 ohms 10 kohms —20 dB (78 mV) —6 dB (0.39 V) Phone jack
PHONES
EM-100I1! 130 ohms 8 ohms N/A O dB (0.775 V) |
EM-1501B Phone jack
EM-200B 130 ohms 8 ohms N/A +2 dB (0.98 V) (stereo)
EM-300B 150 ohms 8 ohms N/A +2 dB (0.98 V)
*Power output is measured at 1 kHz into specified load, both channels driven. The watts/channel figure is the output of
total figure is the sum of both channels’ power output.
All connections are unbalanced.
one channel, whereas the
Specifications subject to change without notice.
SECTION TWO |
introduction
The Yamaha EM-100H, EM-15011B, EM-2008 and ‘inputs and outputs; and graphic program equalization.
EM-300B are multi-input, stereo output mixers with Patchable inputs and outputs to each major function
built-in power amplifiers and Accutronics reverb units. provide the flexibility of separate components with
They are compact and functional in design, with many the convenience of one compact unit. Complete tonal
full-performance features: switchable sensitivity, two- control, substantial output power, tremendous
band equalization, pan pot and dual monitor sends on versatility and proven Yamaha reliability make the .
every input; separate master level controls; auxiliary EM-Mixers exceptionally good values.
EM-300B
EM-15011B
EM-200B
EM-100II
Inputs
The EM-10011 and EM-15011B each have 6 input
channels, while the EM-200B has 8, and the EM-300B
has 12 input channels. Each input channel includes the
following controls: Fader, Hi-EQ, Low-EQ, Monitor 1
(which usually serves as the Reverb/Echo Send control),
Monitor 2, stereo Pan, and an Input Level switch.
Auxiliary Inputs |
All EM-Mixers have one stereo auxiliary input circuit
{Aux In) plus three mono auxiliary inputs (Monitor
Sub In 1, Monitor Sub In 2, and Echo Return).
Monitor 8: Speaker Outputs
The Monitor and Speaker Outputs are controlled by
separate Master faders that independently adjust the
level from the program and monitor mixing buses. The
Speaker Output level is displayed by two VU Meters.
(Monitor meters are also provided on the EM-300B.)
Linking Mixers & Recording
Two or more mixers may be linked or “chained”
together to increase the total input capacity. For this
purpose, the Line Out jacks of one mixer would be
connected to the Aux In jacks of the next mixer.
Alternately, the Line Out jacks may be used to feed
a stereo tape recorder.
The Echo Send jack may also be used to feed a mono
tape recorder, or other external device; this will not
affect the function of the internal spring reverb.
Likewise, the Monitor Out jacks may be used to feed
tape recorders, remote lines or other high-impedance
devices. Remember that Monitor 2 does not reflect the
program mix. It is fed “pre-fader and pre-EQ”, so it can
be mixed for its own unique channel-to-channel balance
without regard to the stereo program mix.
Graphic Equalizers (Not on EM-10011)
The EM-Mixers' Graphic Egualizers are a unique tool,
both for reducing acoustic feedback and for imparting
limitless tonal characteristics to the Speaker outputs.
Seven or nine linear controls “outline” any frequency
response curve as it is created (hence, the term
“graphic”). There are separate equalizers for each
(Left and Right) program channel. The Graphic
Equalizers do not normally affect the Monitor outputs,
so corrections made for the “house” sound will not
color the sound on stage. The Headphone jack does
carry the graphically equalized program, as do the
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7 and 9 Band Graphic Equalizers
G-EQ Output jacks, which can be used to drive external
amplifiers. Alternately, the Monitor Outputs can be
patched into the G-EQ Inputs, while the Line Outputs
are fed to an external amplifier/speaker system.
Power Supply
The power supply is grounded and has convenient
rear panel fusing for complete safety. The polarity-
reversing power switch has two “ON” positions that
help to minimize hum in certain instances. (Illuminated
VU meters indicate that Power is “ОМ”. )
Flexibility
The many inputs and outputs on EM-Mixers simplify
set-up, increase their inherent flexibility, and safeguard
against possible malfunctions by serving as alternate
signal paths. If you're not sure whether a particular input
or output is appropriate, try it, with this one warning:
CAUTION: NEVER PLUG THE SPEAKER OUTPUT
INTO ANYTHING BUT A SPEAKER LOAD OR A
DIRECT BOX MADE FOR HIGH POWER LEVELS,
AND NEVER PATCH AN OUTPUT DIRECTLY BACK
TO A CHANNEL INPUT UNLESS DIRECTED TO DO
SO BY THIS MANUAL.
This simple precaution will protect your Mixers and
related equipment — failure to observe this caution may
void the Mixer Warranty.
SECTION THREE
Detailed Instructions
The photos and callouts in Section | may serve as a
useful reference while you read the following instructions.
It also may be helpful to study the specifications,
especially when considering how to use your mixer with
an accessory device.
INPUT CHANNELS
Each channel has two input jacks. The standard phone
jacks are intended for use with high impedance (Hi-Z) or
low impedance {Low-2Z) sources, while the 3-pin XLR
connectors are strictly for low impedance inputs.
Input jacks
NOTE: Most Low-Z microphones (nominal 150 ohms)
are designed to work into loads of approximately
900-1500 ohms. These load values are provided by the
Low-Z XLR connectors, but not by the phone jacks.
Connecting your Low-Z mics to the wrong input
(High-Z) can alter the microphone's frequency response.
Conversely, connecting a High-Z mic to a Low-Z input
can overload the mic, lower the level and adversely
affect the mic's frequency and transient response.
Input Level Switch
On the Models EM-10011 and EM-15011B, this is a
3-position slide switch, labeled MIC/INST/LINE.
LINE INST MIC
ME
EM-10011 8: EM-150lB input level switch
In MIC position, the channel input sensitivity
(—50 dB) is optimum for a high-impedance microphone.
The cables used with high-impedance (High-Z) micro-
phones should be shielded, and no longer than 25 feet.
If your application requires longer cables, we suggest
the use of the optional Transformer Balancing
Modules (not available for EM-10011) and low impedance
microphones. Medium-impedance microphones, including
many electret condenser microphones, can be connected
directly to the Mixer without an auxiliary transformer,
provided that the mic output level is sufficiently high.
In INST position, the channel's input sensitivity
(—=35 dB) is optimum for non-amplified instruments
such as electric guitars or other instruments equipped
with electro-magnetic pickups.
In LINE position, the channel’ $ sensitivity (—20 dB)
is optimum for “direct” or “preamp” outputs from
amplified instruments like a synthesizer or electronic
piano.
Input Level Switch -
On the Models EM-200B and EM-300B, this is a
5-position rotary knob labeled for nominal input ,
sensitivities of —50, —40, —30, —20, and +4 dB. The
10
EM-200B 8: EM-300B input level switch
—50 dB setting is commonly used with low output
dynamic microphones, —40 dB with medium output
condenser microphones, —20 dB with electric instru-
ments (preamplified) and low level (creative audio or
hi-fi) line sources, and +4 dB with high level line sources
(such as most professional equipment line outputs).
NOTE: The +4 position may not be used when the
optional Transformer Balancing Module is installed.
Set the Input Level switch to correspond to the type
of device that is plugged into the corresponding
Channel Input jack. Here is one suggested procedure:
1. Connect all input sources to their respective
channels. Plug in and wear your headphones to hear the
program mix. DO NOT CONNECT any speakers yet.
2. Set all channel faders at zero (minimum). Set each
channel Pan control all the way to the Left, and raise
the Left Master Program fader to #9.
3. Start with the Input Level switch in the least
sensitive position (‘“Line‘’ or +4 dB). Bring the channel
fader up to #7. If necessary, adjust the Input Level
switch for greater sensitivity, one “click” at a time,
until the input is clearly audible. The Left VU meter
should peak around “0 dB”. If the meter consistently
shoots past “0 dB”, or if the signal sounds distorted
in your headphones, the Input Level switch is set for
too much sensitivity (too low a dB #); decrease the
input sensitivity {higher dB # on the Input Level switch)
until the levels are correct.
4. Repeat the procedure for each input channel, until
all channels are set for proper input sensitivity. Turn the
Mixer Power OFF, and connect your speakers and
outputs. Set both Master Program faders to about #7
and turn the mixer power ON again. You are now ready
to adjust each channel fader, EQ, and stereo assignment
(Pan).
- CAUTION: DO NOT CONNECT THE SPEAKER OUT-
PUT OF ANY AMPLIFIER TO THE'MIXER UNLESS
A SUITABLE HIGH-LEVEL ATTENUATION PAD OR '
“DIRECT BOX" FIRST LOWERS THE LEVEL. |
NOTE: Always turn Master faders (Program and Monitor)
all the way DOWN before turning the AC Power ON.
The channel fader adjusts the level applied to the
stereo program mix bus from whatever source is
connected to the channel's input jack. This allows you
to set precisely the level for various mics and/or
instruments, thereby achieving just the desired mix
(blend) of these sources.
The Low-EQ control adjusts the channel's frequency
response through the low-frequency range. The control
has no effect (“flat response”) when centered. Low-EQ
boost (clockwise rotation) gives more “fullness” to
vocals, guitars, etc., and more of a mellow character to
horns and woodwinds. Low-EQ cut (counterclockwise
rotation) removes boominess, avoids some of the
excessive energy from drums, and reduces hum, rumble,
and buzz. The High-EQ contro! adjusts the channel’s
frequency response through the high-frequency range.
High-EQ boost (clockwise rotation) gives more “edge”
or “bite” to string instruments, more “presence” to
vocals, and more “attack” to percussive instruments.
High-EQ cut (counterclockwise rotation) removes —
some of the breath sound from wind instruments,
reduces guitar-string fingering sounds, lessens hiss, and
avoids sibilant (lispy) vocal sounds. High-EQ cut also
helps to make a performer sound farther away,
particularly if reverb is added. Low and/or Hi-EQ cut
can be helpful in avoiding feedback, too.
The Monitor controls determine the proportion of
channel output that feeds each Monitor mix bus.
Monitor 1 feeds the bus which drives the Echo/Reverb
effects (internal spring or external unit). The amount
or “depth” of Echo/Reverb applied to the program is
controlled by the Master Echo/Reverb control. The
overall level of the Monitor 1 mix from all input
channels, as applied to the Monitor 1 output, is
controlled by the Master Monitor 1 fader; this fader
does not affect the Echo/Reverb level however, even
though it is derived from the same mix bus.
The Monitor 1 controls allow you to set a different
mix for stage monitor speakers, or any other location
away from the “main” speakers. The Monitor 1 mix is
also subject to the settings of the channel fader and
EQ controls.
The Monitor 2 controls also let you create a separate
mix, but one which is not affected by the channel fader
ог EQ controls. “Pre-fader” means that even after a
channel is faded out completely, its input signal may
still be heard at the Monitor 2 Output (at whatever level
is set via the Monitor 2 channel and Master controls).
“Pre-EO” means that if Low-EQ or High-EQ have been
used to alter the bass or treble tone of that input
channel, the EQ will not affect the channel's contri-
bution to the Monitor 2 Output. The pre-fader send on
Monitor 2 is especially useful for feeding devices likely
to have their own volume/EQ controls; such as external
signal processors, remote mixing trucks, broadcast studios,
or other mixing consoles.
The Pan control assigns the input signal to the Left and
— Right program mix buses, and thus pans the channel
across the stereo perspective for the Speaker, Line, and
G-EO outputs; at 12 o'clock position (07 on the Pan
control scale), the signal is fed equally to the Left and
Right sides of these outputs, and is thus “centered”. .
OUTPUT CHANNELS |
The four Speaker Output jacks on each mixer are
designed for 8-ohm or higher impedance speaker loads.
The chart (next column) shows the nominal speaker
power that each model EM-Mixer can deliver at the
Speaker Output jacks with an 8-ohm load on each
channel. Attention must be paid to choice of speakers;
if a combined load of less than 8-ohms is connected
to one channel via either or both of that channel's
Speaker jacks, the amplifier will be overloaded. Overload
might occur, for example, when two 8-ohm speakers,
wired in parallel are connected to one 
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