Yamaha EM1620 Owner's manual

Yamaha EM1620 Owner's manual
YAMAHA
POWERED MIXER
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OPERATION MANUAL
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~~ With your purchase of the YAMAHA EM1620 Powered Mixer, you have
entered into the fine world of advanced Yamaha powered mixer technology.
‘The EM1620 represents a new level of refinement for mixers dedicated to
superior performance for musical instruments and in small to midsize PA and
sound reinforcement applications. In addition to the powerful built-in 200
watt amplifier into 4 ohin loads, the EM 1620 features three-band equalization —
on each one of the six input channels, a master seven-band graphic equalizer,
and an internal limiter circuit that prevents distortion of the output signal. As
a result, shaping channel signals and overall output mix is versatile, conven-
lent, and safe. Input channels offer a choice of XLR-type or phone jack
connectors, and output can be easily configured with the accessible front
panel controls and incorporation of external effects, speakers, and monitoring
— systems. A Phantom Master switch is also included to supply +48 V when
needed for integration of condenser microphones.
You can be assured of reliable performance day in and day out fore even the
most demanding applications. To fully benefit from the exceptional capabili-
ties of your EM1620 Powered Mixer, please read this manual thoroughly and
keep it in a safe place for future reference. |
CONTENTS
PRECAUTIONS ......... ee RER a aa aa nee aa da anne
OPERATION .......... ee era
OPERATING TIPS .................e0.. 0... Manaos
A BASIC SYSTEM ovine eee eee e aaa
GENERAL SPECIFICATIONS ..................000 0000000.
LIMITER OPERATION o.oo... PU ara
TROUBLE SHOOTING ................. 20000000000, as
BLOCK & LEVEL DIAGRAM ................. anna
— DIMENSIONS ....... earn ee a aan 04
PRECAUTIONS
1.
Connecting the Plug and Cord
GREEN-AND-YELLOW
BLUE
BROWN
GREEN-AND-YELLOW.
letter N or coloured BLACK.
letter LL or coloured RED.
\
WARNING : THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:
| : EARTH
: NEUTRAL
: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the
coloured markings identifying the 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
The wire which is coloured BLUE must be connected to the terminal which is marked with the
The wire which is coloured BROWN must be connected to the terminal which is marked with the
* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.X.) LTD.
Avoid Excessive Heat, Humidity, Dust and 4. Make Sure Power Is Off Before Making Or
Vibration Removing Connections |
Keep the unit away from locations where it is likely Always turn the power OFF prior to connecting or
to be exposed to high temperatures or humidity — disconnecting cables. This is important to prevent
such as near radiators, stoves, etc. Also avoid loca- damage to the unit itself as well as other connected
tions which are subject to excessive dust accumula- equipment,
tion or vibration which could cause mechanical
damage. 5. Handle Cables Carefully |
Always plug and unplug cables — including the AC
Avoid Physical Shocks cord — by gripping the connector, not the cord.
Strong physical shocks to the unit can cause dam- |
age. Handle it with care. 6. Clean With a Soft Dry Cloth
Never use solvents such as benzine or thinner to
Do Not Open The Case Or Attempt Repairs clean the unit. Wipe clean with a soft, dry cloth.
Or Modifications Yourself |
This product contains no user-serviceable parts. 7. Always Use the Correct Power Supply
Refer all maintenance to qualified Yamaha service Make sure that the power supply voltage specified
personnel. Opening the case and/or tampering with on the rear panel matches your local AC mains sup-
the internal circuitry will void the warranty. ply. Also make sure that the AC mains supply can
deliver more than enough current to handle all equip-
ment used in your system.
С IMPORTANT NOTICE FOR THE UNITED KINGDOM В
>
WARNING: CHEMICAL CONTENT NOTICE!
The solder used in the manufacture of this product contains LEAD. In addition, the electrical/electronic and/or plastic
(Where applicable) components may also contain traces of chemicals found by the California Health and Welfare Agency
(and possibly other entities) to cause cancer and/or birth defects or other reproductive harm.
DO NOT REMOVE ANY ENCLOSURE COMPONENTS! There are no user serviceable parts inside. All service should be
performed by a service representative authorized by Yamaha to perform such service.
IMPORTANT-MESSAGE: Yamaha strives to produce products that are both user safe and environmentally “friendly”. We
sincerely believe that our products meet these goals. However, in keeping with both the spirit and the letter of various
statutes we have included the messages shown above and others in various locations in this manual.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
OPERATION
M FRONT PANEL CONTROLS e
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© POWER ON/OFF switch and indicator
The power switch is a push-button device. Press the
switch to turn the power ON or OFF. When the
power is ON (am), the POWER indicator LED will
be lit. It is recommended that all volume controls be
set to their lowest levels before the power is
switched ON. This will prevent sudden power surges
to any external equipment.
RESPONSE (dB)
CUT
INPUT CHANNELS
1k
FREQUENCY (Hz)
© HIGH, MID and LOW EQUALIZER con-
“trols В © EFFECTS control
These three controls permit selective modification The EFFECTS control determines the level of the
of the frequency response for each channel. The signal sent from the corresponding channel to the
HIGH, MID, and LOW EQUALIZER controls have - EFFECTS mixing bus. At the bus, the EFFECTS
the following characteristics: signals from all channels are mixed and fed to the
| | EFFECTS SEND control and the rear panel EFF
Control Range Freq. Control SEND jack. The EFFECTS control configuration is
HIGH +15 dB 10 kHz Shelving factory preset to post-EQUALIZER/post- VOLUME.
MID +15dB | 2kHz Peaking As ren the po signa is rectly Re
an
LOW +15 dB 100 Hz Shelving ent on the settings of the channel EQ
VOLUME controls.
O MONITOR control
The MONITOR control determines the level of the
signal sent from the corresponding channel to the
MONITOR mixing bus. At the bus, the MONITOR
signals from all channels are mixed and fed to the
master MONITOR control and the rear panel MON
OUT jack. The MONITOR control configuration is
factory preset to pre-EQUALIZER/pre VOLUME.
As a result, the MONITOR signal is independent of
the settings of the channel EQUALIZER and VOL-
UME controls.
VOLUME control
The setting of the VOLUME control determines the
level of its corresponding source in the mix of the
signal levels of all input channel sources. As a pre-
caution, if the channel is not being used, it is recom-
mended that the VOLUME control be set to its mini-
mum position to prevent unwanted noise from being
added to the main signal.
Master Control Section
TAPE TO MONITOR control
The TAPE TO MONITOR control adjusts the level
of the signal received from the rear panel TAPE IN
inputs (RCA pin jacks TAPE IN 1 and 2).
The adjusted signal is then fed to the master MONI-
TOR control and the rear panel MON OUT jack.
The TAPE TO MONITOR control selectively deter-
mines the output level of tape recorders or other
such devices in the MON OUT signal.
TAPE IN control |
The TAPE IN control regulates the level of the sig-
nal sent from rear panel TAPE IN inputs. The regu-
lated signal is then added to the SP OUT, REC.
‘OUT and LINE OUT signals. The TAPE IN control
sets the output level of tape recorders or other such
devices in the main program signal.
When recording from the REC OUT jacks, this con-
trol must be set at a minimum to avoid electronic
feedback. As a result, recording and playback can-
not be accomplished at the same time with one tape
machine.
OQ EFFECTS TO MONITOR control
The EFFECTS TO MONITOR control adjusts the
level of the combined signal received from the rear
panel EFF RTN inputs (1/4" phone jacks EFF RTN
1 and 2) before the signal 1s fed to the rear panel
MON OUT jack. The EFFECTS TO MONITOR
control selectively determines the output level of
external effects in the MON OUT signal.
EFFECTS RETURN control
The EFFECTS RETURN control regulates the level
of the combined signal sent from the rear panel EFF
RTN inputs. The regulated signal is then added to
the main program signal. The EFFECTS RETURN
control sets the output level of external effects in
the main program signal.
EFFECTS SEND control
This control adjusts the output level of the overall
mix derived from the input channel EFFECTS con-
trols and feeds the signal to the rear panel EFF
SEND jack. The EFFECTS SEND control should be
used to optimally match the mixer EFF SEND out-
put level to the input sensitivity of the connected
external effect or signal processor.
MONITOR control | о
The independent monitor bus features a master
MONITOR control for adjustment of the overall
monitoring level. This control adjusts the output
level of the overall mix derived from the input chan-
nel MONITOR controls and feeds the signal to the
rear panel MON OUT jack.
MASTER control
The output level of the main program signal is regu-
lated by the MASTER control. The regulated signal
is fed directly to the rear panel LINE OUT jack and
via the graphic equalizer to the rear panel SP OUT
jacks.
Graphic Equalizer
For precise response shaping of the SP OUT signal,
the seven-band graphic equalizer provides 12 dB of
boost or cut in each band. There are seven independ-
ent linear controls at the standard ISO center fre-
quencies of 125, 250, 500, 1k, 2k, 4k, and 8k Hz
peaking.
© LIMITER indicator
EM1620 is equipped with a limiter circuit which can
limit the maximum level of signal at the SP OUT to
prevent the signal from distorting.
The LIMITER indicator is lit when the limiter cir-
cuit is activated.
PROTECTION indicator
The PROTECTION indicator lights for approxi-
mately 6 seconds after the POWER switch is pressed
to indicate that the protection circuitry is operating.
d
№ REAR PANEL
No sound is output at the SP OUT while this indica-
tor is lit. This indicator will also light and the sound
will be cut off at the SP OUT when the protection
circuitry is activated at any other time during the
amplifier operation due to factors such as a detec-
tion of excessive DC voltage at the SP OUT or a
thermal overload. When the problem is corrected,
the protection circuitry is automatically deactivated,
the indicator goes out, and the amplifier resumes
normal operation.
Cooling Fan
(Air intake)
PHANTOM MON OUT +4а8 -
® ON OFF
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FUSE
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CAUTION i
TO REDUCE THE RISK OF
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© LINE and MIC INPUT connectors
Each input channel offers a choice of two input
connectors: a MIC IN connector, a balanced 4 kohm
impedance XLR-3-31 connector; and a LINE IN
connector, an unbalanced 10 kohm impedance 1/4"
phone jack. The MIC connectors are primarily in-
tended for use with professional low-impedance
microphones or electronic instruments having low-
impedance balanced outputs. The LINE connectors
will accept unbalanced signals from musical instru-
ments or other such source equipment.
PHANTOM MASTER switch
This switch applies built-in standard +48 V power
to all MIC (XLR) input connectors for biasing Phan-
tom powered condenser microphones.
@ O 68
UL/CSA model
MICROPHONE CABLES AND MICROPHONES
CONNECTION
TO PREVENT HAZARD OR DAMAGE, ENSURE
THAT ONLY MICROPHONE CABLES. AND
MICROPHONES DESIGNED TO THE IEC268-
15A STANDARD ARE CONNECTED.
SP OUT 1 and 2 jacks
SP OUT 1 and SP OUT 2 are standard mono 1/4"
phone jacks. The jacks are wired in parallel and, as a
result, if you connect a speaker system to only one
of the two jacks, then the total load impedance of
the speaker system may be no less than 4 ohms. If
you plug speaker systems into both of the SP OUT
jacks, the total load impedance of each speaker Sys-
tem must be no less than 8 ohms.
® MON OUT jack |
This mono 1/4" phone jack (unbalanced) delivers
the monitor output. This output can be used to feed
the external monitor system. The output impedance
is 150 ohms and the nominal output level is +4 dB. -
@ LINE OUT jack
The LINE OUT jack delivers the main program sig-
nal at line level (+4 dB). The signal is derived-prior
to the graphic equalizer and is not affected by the
graphic equalizer settings. The LINE OUT jack can
be used to feed external power amplifiers, tape re-
corders, or any other device which accepts line-
level input. The 1/4" phone jack (unbalanced) has
an output impedance of 150 ohms.
@ EFF SEND jack
The signal adjusted by the EFFECTS SEND control
is delivered to this 1/4" phone jack (unbalanced). Its
output impedance is 600 ohms and the nominal out-
put level is —10 dB. |
@ EFF RTN jacks |
The output from an external signal processing de-
vice fed by the EFF SEND output can be returned to
the main program and monitor signals via the EFF
RTN jacks. These 1/4" phone jacks (unbalanced)
have an input impedance of 10 kohms and a -20 dB
nominal input level. |
@ REC OUT jacks
~The REC OUT RCA pin jacks deliver a —10 dB line-
level signal which has not been affected by the
MASTER level control. The REC OUT signals can
be fed to a tape or cassette recorder for convenient
recording of the main program. The jacks have an
output impedance of 600 ohms. |
~ @ TAPE IN jacks
These —10 dB RCA pin jack inputs are ideal for
receiving the signals from tape recorders or any
other line-level sources. The TAPE IN jacks have an
input impedance of 10 kohms.
OPERATING TIPS
CONNECTING SOURCES
INPUT
MIC -45dB
PIN 2: HOT (+) PIN 1: GROUND
PIN 3: COLD (-) -
* MAKE SURE THE MIXER'S POWER SWITCH IS
OFF WHEN CONNECTING OR DISCONNECT-
ING ANY CABLES.
* ALWAYS TURN THE MIXER'S POWER ON AF-
TER TURNING ON CONNECTED SOURCES
SUCH AS ELECTRONIC INSTRUMENTS, ETC.
CONNECTING SPEAKERS
The EM1620 powered mixers have two 1/4" phone jack
speaker outputs which are internally connected in paral-
lel. This place some restrictions on their use.
* IF YOU CONNECT SPEAKER SYSTEMS TO
ONLY ONE OF THE AVAILABLE SPEAKER
OUTPUTS, THE TOTAL IMPEDANCE OF THE
CONNECTED SPEAKER SYSTEM MAY BE NO
LESS THAN 4 OHMS.
* JF YOU CONNECT SPEAKER SYSTEMS TO
—. BOTH OF THE AVAILABLE SPEAKER OUT-
PUTS, THE TOTAL IMPEDANCE OF THE
SPEAKER SYSTEM CONNECTED TO EACH
OUTPUT MAY BE NO LESS THAN 8 OHMS
(equalling a total of 4 ohms).
While a higher total load impedance than the recom-
mended impedance will only result in a loss of power
output, a total load impedance that 1s too low can actu-
ally damage the powered mixer. With a total load im-
pedance of 8 ohms, the maximum output power of
EM1620 mixers is 120 watts. With a total load imped-
ance of 4 ohms, maximum output power is 200 watts.
* NEVER CONNECT OR DISCONNECT SPEAK-
ERS WHILE THE MIXER'S POWER IS TURNED
ON!! |
SOUND LEVEL BALANCE AND CONTROL
Before turning ON the mixer AC power switch, connect
all inputs, outputs, and speakers, and be sure the monitor
control is at “0”. If other electronic equipment or elec-
tronic instruments are connected to the inputs of the
EM1620, turn ON that equipment before turning on the _
mixer. This will not only avoid annoying hum, it will
also prevent power-on transients from damaging speak-
ers or other equipment.
To obtain a good S/N ratio with little noise and wide
dynamic range, it is important to establish a proper bal-
ance between each channel VOLUME control and the
MASTER control. Generally speaking, to set the volume
of the signal at SP OUT and to obtain a good S/N ratio,
the channel VOLUME control should be set as higher as
possible and the MASTER control should be set low.
However, if the channel VOLUME is set too high, the
signal will clip, and the sound will become distorted.
Initially, set the channel VOLUME controls to “0”, and
the MASTER control to about “3”. Increase channel
volumes one at a time until the desired mix balance is
achieved; the VOLUME control of the channel with the
lowest signal level should be set somewhere between
“8” and “9”. At this point, if the overall volume is too
high or too low, readjust the MASTER volume accord-
ingly. |
The same considerations apply to the MONITOR output.
Although the LIMITER circuitry is capable of handling
: réasonable signal overranges without distortion, exces-
sively large power signals will be distorted. The best
policy for stable signal output is to keep the volume
turned down to avoid situations that activate the limiter
circuitry. ‘
CHANNEL EQ
The HIGH, MID and LOW equalization controls on each
channel of the mixer make it possible to independently
equalize the channel signals to some degree. The basic
rule of thumb is that equalization should NOT be used
unless it is absolutely necessary. Always put some effort
into proper microphone selection, careful microphone
placement, and/or setting of source instrument controls
to achieve the desired sound before resorting to equali-
zation. When you've set everything up as best you can,
but still need to modify a sound, then go ahead and
equalize. Channel EQ can be most useful in tonally sepa-
rating one sound from another or from a group.
A bit of extra HIGH EQ added to a guitar sound, for
example, can give it a bit more "bite" and help it to stand
out more clealy from the background. Vocals tend to
stand out nicely if given a bit of boost in the MIDDLE
range. Speech generally benefits from a reduction in the
low frequencies—to prevent that "boomy" sound that
occurs when the speaker gets too close to the micro-
phone. Experimentation and experience will tell you how
much EQ is right for different types of sound.
| 0
HIGH |
EQUALIZER
#5 +15
0
MD |
EQUALIZER
| | ~15 +15
0
LOW
EQUALIZER
“15 +15
GRAPHIC EQUALIZATION
Graphic equalization has two main uses in powered
mixers like the EM1620: compensation for acoustic de-
ficiencies in the listening area; and feedback control.
Like the channel equalizers, the graphic equalizer should
be left alone unless it is absolutely necessary. The more .
equalization you use, the more phase deviation you in-
troduce into the program signal, and this can result in an
unnatural sound. There are many instances, however, in
which the listening area itself causes response anoma-
lies due to its acoustic characteristics. Large areas of
uncovered glass or tiled floors, for example, are ex-
tremely effective reflectors of high-frequency sound.
Sound produced in environments like this can sound
painfully sharp, and some reduction in the high fre-
quency range may be called for. Smaller symmetrical
rooms (a square room being the worst case) can actually
have resonant frequencies within the audible low-fre-
quency range. A bit of reduction in the low frequencies
can help to make the sound more intelligible. Note that
in almost all cases good equalization practice demands a
cut in the offending frequency range rather than a boost
in ranges where response is lacking. |
The graphic equalizer can also be used—although to a
limited degree—for feedback control. Proper micro-
phone placement is the primary tool for prevention of
feedback, but this can be extremely difficult if you're
working in a tight stage area. Simply cut response in the
frequency range where the feedback is occurring (this
wil have to be found by experimentation). This will
compromise the overall frequency response of the pro-
gram, but it's better than facing the possibility of squeal-
ing feedback in the middle of an important performance.
+12 rem — +12
9 — —— 9
6 — — 6
3 — — 3
о == ==0 dB
3 — — 3
8 — —6
9 — — 9
до — — AD
125 1k 4k 8k
НИ
ПИ |
ИИ
ИИ
ИИ
ПИ
250 500
RACK MOUNTING FOR PORTABILITY
The unit is cooled by means of a compulsory fan located
in the rear panel, Because the fan intakes cool air through:
the rear panel and exhausts warm air out of the side pan-:
els, portable racks must be designed to ensure: that proper
air flow is maintained. The figures below show an:ex-
ample of a well-ventilated rack: The rear panel is-com- .
pletely open and the side panels are exposed where nec-
essary. Refer to the dimensions (page 14) for correct ро-
sitioning of the rack exhaust holes. -
“(ide View)
о Front
iii |
чины НЫ GME Wm Фе En AE DEE EE GEE EE Em fA BRL e A EE ey
* Keep both side panels exposed for air exhaust. —
(Rear View)
Completely open
Son
Cooling F |
: © по an, - Air intake:
TT.
POSITIONING THE MIXER HOUSING
Place the case so that the ventilation airflow paths are
not blocked. E :
|; 15 ап 10 ет
1,
\
À Front lessthantoom
> | A ;
; <Æ Front |
NO В no EEE No
POSITIONING RUBBER FEET
Peel the e backing off of the rubber foot and stick to the
bottom of the mixer. The figure below indicates the best
positions for optimal stability.
“(Bottom View)
40, SEE 40
N
A
RY
A
140
40
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401 | 401°
* 40 mm = 1-9/16" | unit: mm
|. Front |
— * Rubber feet are optional items.
“A BASIC SYSTEM
Power
Amplifier
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Synthesizer. Microphone
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Speaker | | | " | Speaker T°
GENERAL SPECIFICATIONS
MAXIMUM OUTPUT POWER |
200 W @ 4 ohms 0.5 % (THD) at 1 kHz
120 W @ 8 ohms 0.5 % (THD) at 1 kHz
MAXIMUM OUTPUT LEVEL
+ 20 dB (MON OUT) @ 600 ohms 0.5 % at 1 kHz
+ 20 dB (EFF SEND) @ 600 ohms 0.5 % at 1 kHz
TOTAL HARMONIC DISTORTION
Less than 0.3 % 20 Hz — 20 kHz @ 100 W/4 ohms.
(MIC IN to SP OUT)
Less than 0.2 % 20 Hz — 20 kHz @ + 4 dB/600 ohms
- (MIC IN to LINE OUT)
FREQUENCY RESPONSE |
+ 1, — 3 dB 20 Hz — 20 kHz @ 1 W/8 ohms (SP OUT)
+ 1, - 3 dB 20 Hz — 20 kHz @ + 4 dB/600 ohms (LINE
OUT)
HUM & NOISE (20 Hz — 20 kHz) Rs = 150 ohms
— 120 dB Equivalent Input Noise
— 70 dB Residual output noise (SP OUT)
— 100 dB Residual output noise (LINE OUT/MON OUT)
— 105 dB Residual output noise (EFF SEND)
— 77 dB (81 dB S/N) LINE OUT
Master control level at maximum level and all CH con-
trol levels at minimum level.
— 71 dB (75 dB S/N) LINE OUT
Master control level at maximum level and one CH
control level at nominal level.
— 77 dB (81 dB S/N) MON OUT
Master control level at maximum level and all CH MONI-
TOR control levels at minimum level.
— 71 dB (75 dB S/N) MON OUT
Master control level at maximum level and one CH
"MONITOR control level at nominal level.
— 93 dB (88 dB S/N) EFF SEND
Master control level at maximum level and all CH EFF
SEND contro! levels at minimum level.
— 85 dB (75 dB S/N) EFF SEND
Master control level at maximum level and one CH EFF
| SEND controls level at nominal level.
CROSSTALK (at 1 kHz)
60 dB adjacent input channels.
60 dB input to output.
MAXIMUM VOLTAGE GAIN
82 dB MIC IN to SP OUT
55 dB MIC IN to LINE OUT
41 dB MIC IN to REC OUT
55 dB MIC IN to MON OUT
47 dB MIC IN to EFF SEND
30 dB LINE IN to LINE OUT
30 dB EFF RTN to LINE OUT
30 dB EFF RTN to MON OUT
20 dB TAPE IN to LINE OUT
20 dB TAPE IN to MON OUT
10
INPUT CHANNEL EQUALIZATION
+ 15 dB maximum boost or cut in each of three bands.
HIGH : 10 kHz shelving
MIDDLE : 2 kHz peaking | e
LOW : 100 Hz shelving
GRAPHIC EQUALIZATION
+ 12 dB maximum boost or cut in each of seven bands.
125, 250, 500Hz, 1 k, 2 k, 4 k, 8 kHz : peaking
LIMITER
Input overload : 15 dB
INDICATOR LEDS
POWER Red LED is lit when power is "ON".
PROTECTION Red LED is lit when protection circuitry
is activated.
LIMITER Red LED is lit when limiter circuitry is
activated.
PROTECTION CIRCUIT
Power on mute 6 + 2 sec. Muting time
DC sense DC + 2 V Output shut off
PC limiter less than 2 ohms @ Load impedance
PHANTOM POWER |
+ 48 Уорс is applied to electrically balanced XLR inputs (via
6.8 kohms current limiting/isolation resistors) for Phantom
powerd condenser microphones.
POWER REQUIREMENTS
UL/CSA model
General model
120 V AC 60 Hz
220/240 V AC 50/60 Hz
POWER CONSUMPTIONS
UL/CSA model
General model
180 W
180 W
DIMENSIONS (Wx Hx D)
480 x 132 x 346.8 mm (18-7/8" x 5-3/16" x 13-5/8")
WEIGHT
12 kg (26 lbs 7 oz)
OPTIONS
Rubber Foot x 4
* О @В = 0.775 \/г.т.5.
* Specifications and appearance subject to change without
notice.
INPUT CHARACTERISTICS
*°
Input Terminals ‘impedance With Nominal Sensitivity mE Max. before clip Connector In Mixer
CH Input | MC IN 4 kohms | ohms Mies (2.18 nV) (4.36 a) (138 mV) XLR-3-31 type
TO nen 10 kohms | ohms Lines (38:8 AV) 77 SV) (2.45 VI Phone Jack
EFFECTS RETURN (1, 2) | 10 kohms ohms Lines (388 VI 775 Y) (2.45 Yi Phone Jack
TAPE IN (1, 2) 10 kohms | S00 (128 mV) (245 AV) (4.36 Y) RCA Pin Jack
(1) Sensitivity is the lowest level that will produce a full power output, or the nominal output level when the unit is set to
maximum gain.
(2) XLR-type connectors are balanced; Phone Jacks and RCA Pin Jacks are unbalanced.
(3) In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
OUTPUT CHARACTERISTICS
Output Level
; Actual Source For Use Connector In
Output Terminals Impedance With Nominal Nominal Maximum Mixer
4 ohms speakers 200 W 200 W
SPEAKER OUT (1, 2) 0.08 ohms Phone Jack
—| 8 ohms speakers 120 W 120 W
LINE OUT 150 ohms 600 ohm lines +4 dB (1.23 V) | Phone Jack
"MONITOR OUT 150 ohms 600 ohm lines + 4 dB (1.23 V) + 20 dB (7.75 V) Phone Jack
EFFECTS SEND 600 ohms 10 kohm lines — 10 dB (245 mV) | + 20 dB (7.75 V) Phone Jack
REC OUT (1, 2) 600 ohms 10 kohm lines — 10 dB (245 mV) | + 20 dB (7.75 V) | RCA Pin Jack
(1) All connectors are unbalanced.
(2) In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
11
LIMITER OPERATION
The LIMITER protection circuitry is activated when the
maximum power rating of the SP OUT signal (i.e., 200W INPUT - OUTPUT (LIMITER) RESPONSE
INPUT - THD (LIMITER) RESPONSE
into 4 ohm loads) is exceeded. The LIMITER is effec- INPUT(-20 dB, Rs-6000) — SP OUT( 49)
tive to 15 dB overrange. When the signal is less than 15 GEQ: flat —
CH VOLUME and MASTER volume: Max
Frequency: 1 kHz
dB overrange, the LIMITER activates and the output.
signal is sent to SP OUT with minimal distortion. How-
ever, when the power of the input signal is greater than 500
15 dB overrange, the LIMITER is no longer as effective
and the signal delivered to SP OUT will become dis-
torted. о
—
<
<
gi
>
0.5
OUTPUT (W)
THD (%)
—
©
0.1
0.05
0.01
~40 —30 —20 -10 0 10 20
INPUT LEVEL (dB)
TROUBLESHOOTING
The following table lists the main causes of abnormal operation and the corrective measures required, as well as the
protective circuit operation in each case.
Indicator display | Probable cause ` Remedy
Input signal strength is too high. Turn the channel VOLUME control counter-
Limiter overrange protection | clockwise to decrease the input signal level or
(+15dB) has been éxceeded. decrease the output level connected to the
| INPUT jacks. 7
Sound is distorted
The amplifier load is excessive. Use a speaker system with the correct load im-
| pedance. (Refer to page 8 for details.)
The heat sink temperature has Check the amplifier ventilation conditions and
| exceeded 100°C. - | take appropriate measures to improve airflow
PROTECTION indicator is lit | around the amplifier.
and no sound comes from the
speakers. A DC voltage of +/-2V or greater Consult your dealer or nearest Yamaha service
was generated in the power ampli- center.
fier’s output-cireuit.
12
BLOCK & LEVEL DIAGRAM
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13
DIMENSIONS
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Unit: mm (inch)
14
Francais
TABLES DE MIXAGE AMPLIFIEE
EMIEZ2>O
MODE D'EMPLOI
L’acquisition d'une table de mixage amplifiée YAMAHA EM1620 vous
ouvre toute grande les portes du monde extraordinaire de la technologie
perfectionnée des tables de mixage amplifiées mise au point par Yamaha. La
table EM1620 représente une nouvelle génération de tables de mixage tout
particulièrement conçues pour offrir des performances optimales qu'elles
soient utilisées avec des instruments de musique ou’ dans des systèmes ou
chaînes de sonorisation de dimensions petites à moyennes. En plus d'un am-
plificateur intégré de grande puissance de 200 watts sous charge de 4 ohms,
la.table EM1620 comprend un circuit d’égalisation à trois bandes sur chacun
des six canaux d'entrée, un égaliseur graphique principal à sept bandes et
un circuit limiteur interne prévenant la distorsion du signal de sortie. De ce
fait, la mise en forme du signal de chaque canal et le mixage peuvent se faire
d’une manière diversifiée, simple et sûre. Les canaux d'entrée offrent le
choix entre connecteurs XLR et prises jacks. La configuration de la sortie
peut être facilement réalisée grâce aux commandes de la face avant et grâce
à l’incorporation d’enceintes acoustiques et de systèmes externes d’effet et
d'écoute de contrôle. Un commutateur fantôme principal est également prévu
pour fournir une alimentation de +48 V lorsque nécessa
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