Yamaha EMX2150 Owner's manual

YAMAHA
Powered Mixers
Tables de mixage a amplification de puissance
Aktiv-Mischpult
=X 2150
ENMX2200
ENVMX 2300
Operation Manual
Manuel d'instructions
Bedienungsanleitung
Congratulations!
Your EMX-series Powered Mixer is an ideal choice for small or medium-size PA and sound reinforce-
ment applications. The EMX2150, EMX2200 and EMX2300 feature 6, 8 or 12 input channels, respec-
tively, feeding a high-performance stereo power amplifier. The EMX2150 delivers a clean 150 watts per
channel into 4-ohm loads, while the EMX2200 and EMX2300 put out a powerful 250 watts per channel
into 4-ohm loads. The input channels offer a choice of balanced LO-Z XLR or HI-Z TRS phone jack
inputs, and a 20-dB pad switch and input gain control allow precise level matching with any input
source. Three-band EQ stages on each input channel permit versatile response shaping of the channel
signals, and dual AUX send controls allow convenient incorporation of external effects or monitoring
systems. The AUX 2/DSP control also feeds the EMX mixer's internal effect processor — one of the
highlights of this new series. The new EMX mixers incorporate a sophisticated YAMAHA digital signal
processor that provides 15 top-quality digital reverb, delay and echo effects. The effects can even be
“edited” to some degree to create precisely the required sound. Each input channel also has a pan
control which can be used to pan the channel signal across the’ master stereo buss. The master control
section includes master AUX send faders, aux return controls, the digital signal processor controls,
master faders, and independent nine-band graphic equalizers for the left and right channels. The
graphic equalizers are essential for overall response shaping and feedback control in sound reinforce-
ment applications. In addition to the main speaker outputs, the EMX mixers also offers stereo line
outputs prior to the graphic EQ stage, direct graphic equalizer inputs and outputs, and direct inputs to
the power amplifier stage. +48 volt phantom power is even provided for convenient powering of
condenser microphones.
We urge you to read this operation manual thoroughly in order to make the most of the mixer's many
features and controls. Please keep the manual in a safe place for later reference.
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, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B" LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT
IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N'EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS
NUMERIQUES DE LA “CLASSE B" PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE
DES COMMUNICATIONS DU CANADA.
* This applies only to products distributed by YAMAHA CANADA MUSIC LTD.
CONTENTS
PRECAUTIONS i tc eet te re eee ee ee 2
FRONT PANEL CONTROLS ..... iii it aa da aa ae da da a aa a da a aa aa aa 3
Input Channels ...........eoecxeocordeoedocereracoroeccrocecodaonooredoeorea 3
Master Control Section ..........eeorreoococeorererra dere deoraaoroonroracena 5
REAR PANEL CONNECTORS AND CONTROLS ...........ñ.eeeerrecoeacosadedaaer emo 7
OPERATING TIPS .............eomesnecrodecarac.ereaeoerecorerceredenaaroaeonao 9
Connecting Sources ...........ece_econvcecorvesiorreornaecorerecoeoocameraceneco. 9
Matching Input Levels ...... c.count eects ete ea, 10
Channel and MASTER FadersS ...00000000000000 0000800000888 800 ena, 10
Channel EQ Lo... i ee ee à 11
Using the Digital Signal Processor Section ...............coe_eececorecoorereceror 11
Graphic Equalizer .........._eoereonsvrooodorcororoeacocererecrereredoooaore. 13
Connecting Speakers ............e_eereovorvcearoroereorerecerecoorereconeader 13
SAMPLE APPLICATIONS ..............ee_mecorococorerreoreceorecrarceroearadaoa 14
A Small Sound System ...... eae tee ae eee eee eee eee. 14
Sound Reinforcement with On-stage Monitors ............c_oerececceraarereooamo 15
SPECIFICATIONS .............._reosvoarvacarerearedacarececeoron Cee eee 16
Console Dimensions ... iii iii i es eee ee ee reee 17
INPUT and OUTPUT characteristics .............eoerececcscecdeoaia ee aar en. 18
BLOCK 8: LEVEL DIAGRAM ............—.o_eoerccorereorrdaaeoreaceooevacoeneroevoro. 58
PRECAUTIONS
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND VI- 5. HANDLE CABLES CAREFULLY
BRATION
Keep the unit away from locations where it is likely to
be exposed to high temperatures or humidity — such as
near radiators, stoves, etc. Also avoid locations which 6. CLEAN WITH A SOFT DRY CLOTH
are subject to excessive dust accumulation or vibration
which could cause mechanical damage.
Always plug and unplug cables — including the AC cord
— by gripping the connector, not the cord.
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care.
7. ALWAYS USE THE CORRECT POWER SOURCE
Make sure that the power source voltage specified on
the rear panel matches your local AC mains supply.
3. DO NOT OPEN THE UNIT OR ATTEMPT REPAIRS OR и
MODIFICATIONS YOURSELF -
" - a TIPS” SECTION
This product contains no user-serviceable parts. Refer
all maintenance to qualified YAMAHA service person-
nel. Opening the case and/or tampering with the
internal circuitry will void the warranty.
4. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or dis-
connecting cables. This is important to prevent damage
to the unit itself as well as other connected equipment.
FRONT PANEL CONTROLS
Input Channels
MET
O PAD Switch
This switch attenuates the signal applied to the
corresponding rear-panel HÍ-Z or LO-Z input by 20 dB
prior to the head amplifier and input gain control. The
PAD switch effectively increases the range of input
signal levels that can be handled by the mixer, pre-
venting overloading of the input circuitry when receiv-
ing high-level signals.
GAIN Control
This control adjusts the input sensitivity of each input
channel between -60 dB (0.775 mV) and -20 dB (77.5
mV) when the PAD switch is OFF (between -40 dB and
0 dB when the PAD switch is ON). Continuously
variable gain control allows optimum matching with
virtually any microphone or line source.
CLIP LED Indicator
The CLIP indicator LED lights when the post-EQ signal
of the corresponding channel's input reaches a level 3
dB below the clipping level of the channel's circuitry. If
the CLIP indicator lights more than only briefly on
high-level transients it is necessary to decrease the
input sensitivity of the channel using the GAIN control
and PAD switch or, if this does not provide sufficient
attenuation, to reduce the output level of the source
connected to that channel's input.
3-band Equalizer
These three controls permit individually modifying the
response of each channel. The HIGH, MIDDLE and
LOW EQ controls function as follows:
“HIGH | +15 9В 8 kHz Shelving
MIDDLE +15 dB 2 kHz Peaking
LOW +15 dB 100 Hz Shelving
(de)
+15
+10
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RESPONSE
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100 Ik 10k (Hz)
FREQUENCY
© AUX 1 Control
The AUX 1 control determines the level of the signal
sent from that channel to the AUX 1 mixing buss,
where the AUX send signals from all channels are
mixed and fed to the AUX SEND 1 fader and the AUX
SEND 1 jack on the mixer's rear panel. The AUX 1
controls can be used to determine the amount of
signal from the corresponding input channel sent to
external effect devices or power amps (usually for
monitoring) fed by the AUX SEND 1 jack. In its factory
preset configuration, AUX 1 is pre-EQ/pre-fader thus
making it ideal for use with stage monitor systems.
* AUX 1 is factor pre-wired for pre-EQ/pre-fader op-
eration, so the AUX 1 signal is not affected by the
setting of the channel EQ controls or fader. Internal
jumpers allow the AUX 1 control to be rewired for
post-EQ/pre-fader or post-EQ/post-fader operation
— REFER THIS JOB TO YOUR YAMAHA DEALER
OR A QUALIFIED SERVICE CENTER!
AUX 2/DSP Control
The AUX 2/DSP control determines the level of the
signal sent from that channel to the AUX 2 mixing
buss, which in turn feeds the internal digital signal
processor system as well as the rear-panel AUX SEND
2 jacks via the AUX SEND 2 fader. Please note that the
AUX SEND 2 fader affects the level of the AUX 2 signal
sent to the internal digital signal processor.
% AUX 2 is factor pre-wired for post-EQ/post-fader
operation, so the AUX 2 signal is affected by the
setting of the channel EQ controls and fader. Inter-
nal jumpers allow the AUX 1 control to be rewired
for pre-EQ/pre-fader or post-EQ/pre-fader opera-
tion — REFER THIS JOB TO YOUR YAMAHA
DEALER OR A QUALIFIED SERVICE CENTER!
PAN Control
Pans the channel signal across the L and R MASTER
busses, thus determining the perceived position of the
sound from that channel in the output stereo sound
field. If the PAN control is set all the way to the left, for
example, the sound from that channel will appear only
from the left speaker system. If PAN is turned all the
way to the right, then the sound will appear only from
the right speaker system. Intermediate settings cause
the sound to appear at corresponding locations in the
stereo sound field.
O Channel Fader
This is the main level control for each input channel. It
determines the level of the signal sent from the
corresponding input channel to the master mixing
buss and to the mixer's power amplifier via the master
fader. The settings of the input channel faders deter-
mines the “mix” or balance of sound levels between
the instruments or other sources connected to the
inputs.
* Ifachannelisnotbeing used, its fader should be set
to the minimum position to prevent unwanted
noise from being added to the main program sig-
nal.
Master Control Section
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4; DEEP REVERB [C] PLATE ECHO
[5! SOLO REVERB [0] DOUBLER
[6] SMALL CLUB [E] MULTI-ECHO
[7] LIVE ROOM [F] STEREO ECHO
|8. TUNNEL REVERB
AUX RTN 2/DSA CLIP
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FRONT PANEL CONTROLS
© AUX SEND 1 8: AUX SEND 2 Faders O Graphic Equalizers & EQ Switches
These adjust the overall output level of the AUX 1 and
AUX 2 “mixes” set up using the AUX 1 and AUX 2
controls. SEND 1 sets the overall level of the AUX 1
mix signal appearing at the AUX SEND 1 jack, and
SEND 2 sets the overall level of the AUX 2 mix signal
appearing at the AUX SEND 2 jacks (there are two
AUX SEND 2 jacks). These controls should be used to
optimally match the AUX SEND output level of the
mixer to the input sensitivity of the external effect,
signal processing device or power amplifier used.
AUX RTN 1 & AUX RTN 2/DSP Controls
These controls adjust the level of the signal received at
the corresponding rear-panel AUX RTN jacks and
mixed into the main program on the MASTER buss
(when the DSP ON switch is OFF in the case of AUX
RTN 2). If the DSP ON switch is turned ON, the AUX
RTN 2/DSP control adjusts the level of the effect signal
from the internal digital signal processor mixed into
the main program (signals received at the AUX RTN 2
jacks will be shut off).
AUX 1 & AUX 2 Controls (for AUX RTN 1 & AUX
RTN 2)
Both the AUX RTN 1 and AUX RTN 2 inputs feature
AUX 1 and AUX 2 controls that can be used to send
the signals received at the corresponding AUX RTN
jacks to the mixer’s AUX 1 and/or AUX 2 mixing
busses. Stereo signals received at the AUX RTN L and
R jacks are combined into a monaural signal before
being fed to the AUX buss.
IMPORTANT NOTE: These controls should only be
used when an independent external source is
feeding the corresponding AUX RTN jacks (such
as a tape player for background music during
intermission, etc). The AUX 1 and AUX 2 controls
should NOT be used (they should be set to their
minimum positions) when the corresponding
AUX RTN L and R jacks are receiving the output
from a signal processor which is being fed by the
mixer's AUX SEND jacks.
DSP Controls & Display
The DSP control section includes A (increment)
and | (decrement) keys, a TIME/MEMORY, key, a
RECALL key, an ON switch, a single-digit seven-
segment LED display, and a DSP PEAK LED. Refer to
“Using the Digital Signal Processor Section” on page
11 for operating details.
Independent 9-band graphic equalizers for the L and R
MASTER program signals allow fine response shaping
of the main output from the mixer (SPEAKER OUT or
GEQ OUT). Each graphic equalizer section has 9 linear
controls with center frequencies of 63 Hz, 125 Hz, 250
Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz and 16 kHz. Each
control permits 12 dB maximum boost or cut. When
set to the center or “0” position, response in the
corresponding band is unaffected. The EQ switches
turn the corresponding graphic equalizer sections ON
or OFF.
(dBÍ
+15
+10
+5
RESPONSE
o
100 Ik 10k (Hz)
FREQUENCY
L 8: R MASTER Faders
The L 8%: R MASTER faders are the main “volume
controls” for the overall program mix, controlling the
levels of the signal sent to the rear-panel SPEAKER
OUT L (1 & 2) and SPEAKER OUT R (1 & 2) jacks, the
GEQ OUT (L & В) jacks, the LINE OUT (L & R) jacks,
and the front-panel PHONES jack.
L & R MASTER VU Meters
These precision VU meters display the levels of the
signals appearing at the outputs of the mixer's power
amplifier (SPEAKER OUT L & R). The meters are a
useful aid in setting optimum output levels using the L
& R MASTER faders.
PHONES Jack
The PHONES jack delivers the main program signal to
a pair of 8 ohm stereo monitor headphones. The L & R
MASTER faders adjust the headphone monitoring
level.
REAR PANEL CONNECTORS AND CONTROLS
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EMX 2300
O AUX SEND 1 (+4 dB) 8: AUX SEND 2 (+4 dB &
O HI-Z and LO-Z Input Connectors
EMX2150 : HI-Z on channels 1 — 4 only.
EMX2200 : HI-Z on channels 1 — 4 only.
EMX2300 : HI-Z on channels 1 — 8 only.
All input channels offer a balanced LO-Z (low-imped-
ance) XLR-type connector, while the lower-numbered
input channels (listed above) also have balanced Hi-Z
(high-impedance) tip-ring-sleeve 1/4" phone jacks. The
LO-Z inputs are primarily intended for use with profes-
sional low-impedance microphones or electronic
instruments having low-impedance outputs.
The H!-Z inputs will accept either balanced or unbal-
anced signals from high-impedance microphones,
musical instruments or other source equipment. See
“Connecting Sources” on page 9 for further details.
CH INSERT IN/OUT Jacks
EMX2150 : Channels 5 — 6.
EMX2200 : Channels 5 — 8.
EMX2300 : Channels 9 — 12.
These are a TRS (Tip-Ring-Sleeve) type jacks that
provide an insert patch point for connection of exter-
nal signal processing or other equipment between the
channel's head amplifier (the first amplifier stage after
the input) and EQ stage. The insert points are ideal for -
insertion of compressors, noise gates, equalizers or
other equipment that needs to be applied to specific
channels only. The CH INSERT IN/OUT jacks include
both the send (output) and receive (input) lines
required by the insert point, sending and receiving
signals at a nominal -6 dB.
TRS PHONE PLUG
Tip (Insert receive) у
Sleeve (Ground)
Ring (Insert Send)
-10 dB) Jacks
These jacks deliver the AUX 1 and AUX 2 mixes,
respectively, to feed an external effect device or power
amplifier. Nominal output level of the main AUX send
jacks is +4 dB. A second AUX SEND 2 jack is provided
with a nominal output level of -10 dB. Use the —10 dB
AUX SEND 2 jack if your external signal processor can
not handle the +4 dB level of the main AUX SEND
jacks. The AUX SEND 2 jack is active even when the
internal digital signal processor is ON.
AUX RTN 1 (L 8% В) 8: AUX RTN 2 (L 8 R) Jacks
The output from effect units fed by the AUX OUT 1
and AUX OUT 2 jacks can be returned to the main
program mix via these jacks. Note that the AUX RTN 1
and AUX RTN 2 inputs are both stereo, providing
compatibility with 1-in/2-out signal processors and
effects. The AUX RTN jacks can also be used to receive
the output from independent stereo sources (Tape or
CD players, etc) to be mixed into the master program
signal. Nominal input level/impedance is -20 dB/10 k-
ohms
AUX AUX
SEND 1 RTN 2
@ LINE OUTL &R Jacks
The LINE OUT jacks deliver the main program signal (L
and R channels) 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 jacks can be used to feed an external power
amplifier, a tape recorder,or any other device which
accepts line-level input. The LINE OUT jacks can also
be used to “cascade” two EMX-series mixers to
provide a greater number of input channels. In this
case, the LINE OUT L and R jacks of the first EMX-
series mixer would be connected to the AUX RTN L
and R {1 or 2) inputs of the second mixer.
GEQ IN (L 8: R) 8: GEQ OUT (L & R) Jacks
External line-level source signals can be fed directly to
the input of the L and R channel graphic equalizers via
these jacks. Inserting a plug into the EQ IN Lor R jack
disconnects the internal mixer program signal for that
channel, so only the external source is fed to the
graphic equalizer and power amplifier. The GEQ OUT L
and R jacks deliver the main program signal after
graphic equalization. In all other respects, they
function in the same way as the LINE OUT L & R jacks
described above.
POWER AMP IN L 8 R Jacks
External line-level source signals can be fed directly to
the inputs of the mixer’s stereo power amplifier via
these jacks. Inserting a plug into the POWER AMP IN L
or R jack disconnects the internal mixer program
signal for that channel, so only the external source is
fed to the power amplifier.
FOOT SW (DSP MUTE) Jack
This jack accepts an optional YAMAHA FC4 or FC5
footswitch, which can be used to turn the selected
internal digital signal processor effect ON and OFF.
O SPEAKER OUT L (1 8: 2) and R (1 & 2) Jacks
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(——R—— SPEAKERS ———L—)
2 1 2 1
These are the main speaker-level outputs from the
powered mixer. SPEAKER OUT L (1 & 2) and SPEAKER
OUT R (1 & 2) are standard mono 1/4" phone plugs.
The “1” and “2” jacks for each channel are wired in
_ parallel. If you connect a speaker system to only one of
these jacks — “1” or “2” — then the total load imped-
ance of the speaker system may be astow as 4 ohms.
If you plug speakers into both the “1” and “2” jacks of
either channel, the total load impedance of each
speaker system must be no less than 8 ohms.
SIDE PANEL
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@ POWER Switch
Press in to turn power ON, and press a second time to
turn power OFF. The VU meters will light when the
power is ON.
PHANTOM Switch
When this switch is turned ON, +48V is applied to the
“+” and *— pins of the LO-Z and HI-Z input connectors
via 6.8 kQ current-limiting/isolation resistors, providing
phantom power for phantom-powered condenser
microphones.
OPERATING TIPS
Connecting Sources
The fact that the EMX-series mixers offer both LO-Z XLR-
type and HI-Z phone jack inputs makes it simple to connect
virtually any type of source equipment. Please note,
however, that not all input channels have HI-Z inputs.
Some of the highest-numbered channels have CH INSERT
IN/OUT jacks in place of HI-Z inputs. The following chart
shows which channels have HI-Z inputs and which have
CH INSERT IN/OUT jacks for the three EMX-series mixers
described in this manual:
LO-Z
2 6 Lim mere ne UL at | GND © ®
5,6,7,8
) | 1,2,3, 4,5, 6, 7,8 | 9,10, 11, 12
ie
Professional low-impedance microphones and other
equipment almost invariably are fitted with an XLR
connector which matches the LO-Z inputs on the mixer. Pin 1: GROUND Sleeve: GROUND
Electronic musical instruments and other equipment with Pin 2: HOT (+) Tip: HOT (+)
relatively high-impedance outputs usually have a phone- Pin 3: COLD (-) Ring: COLD (-)
jack output connector that can be directly connected to the
HI-Z inputs using a standard phone plug — phone plug
cable. The HI-Z inputs will also accept balanced high-
impedance lines from high-impedance microphones or
other balanced sources. For your reference, the LO-Z and
HI-Z connectors are wired as follows:
E MAKE SURE THE MIXER'S POWER SWITCH IS OFF
WHEN CONNECTING OR DISCONNECTING ANY
CABLES.
E ALWAYS TURN THE MIXER'S POWER ON AFTER
TURNING ON CONNECTED SOURCES SUCH AS ELEC-
TRONIC INSTRUMENTS, ETC.
Ш NEVER CONNECT THE SPEAKER OUTPUT OF ANY
AMPLIFIER TO THE CONSOLE’S INPUTS UNLESS А
SUITABLE HIGH-LEVEL ATTENUATION PAD OR “DI-
RECT BOX" IS USED TO LOWER THE SIGNAL'S LEVEL.
Matching Input Levels
When matching input levels it is a good idea to make sure
the speaker systems are DISCONNECTED from the mixer’s
speaker outputs (this must be done while the power switch
is OFF). The sound can be monitored via a pair of head-
phones plugged into the front-panel PHONES jack — but
make sure the L and R MASTER faders are set to their
minimum levels to begin with, then raise them just enough
to produce a comfortable sound level when you actually
begin monitoring input signals and matching levels.
Once all your sources are connected and the entire system
is turned on, it is important to accurately match the input
sensitivity of each input channel with the source signal it is
receiving. Do this one channel at a time. Begin by setting
the lowest possible sensitivity for each input: turn the PAD
switch ON and set the GAIN control to —20 dB. Set the
channel fader to between about “10” and “5” on its scale.
“Play” the source connected to the first input channel at
the loudest level it will be played in actual use — if a
microphone, have the vocalist sing his or her loudest note
into it. Watch the channel CLIP indicator carefully. If it
lights at this point (with the input controls set for minimum
sensitivity) then the output level of the source must be
reduced. Normally, however, you will have to increase the
input sensitivity to achieve optimum matching. Gradually
increase the setting of the GAIN control until the CLIP
indicator just barely flashes on the loudest peaks. If you
turn the GAIN control all the way up and the CLIP LED still
doesn’t light, then reduce the GAIN control setting to
minimum, turn the PAD switch OFF, then gradually
increase the GAIN control setting again. This time you
should definitely get a CLIP indication somewhere in the
GAIN control range. If there is still no indication, check that
the source is functioning properly and that it is properly
connected to the appropriate input of the mixer. It may
also be a good idea to check the cable for faults (try
another cable). Remember, the CLIP indicator lights when
the channel signal is 3dB below clipping level, so it is quite
OK if it flashes briefly on loud peaks. This, in fact, is about
the optimum input sensitivity setting. When you've
finished with the first channel, set its fader to the minimum
position and proceed to the next channel, once again
following the procedure outlined above.
Once the input levels have all been properly matched, set
the L and R MASTER faders to their minimum positions,
TURN OFF the mixer’s power switch, connect the required
speaker systems, then turn the power switch back ON. The
MASTER faders can now be gradually raised to their
operating levels.
Channel and MASTER Faders
The final positions of the channel will, naturally, depend on
the overall “mix” you set up. There are, however, a few
important points you should keep in mind.
The channel faders have an “optimum range,” which
provides minimum noise and distortion, as well as maxi-
mum control margin. On the EMX-series mixers the
optimum channel fader range is between about “15” and
“57 on their scales. There is no rule that says you must to
avoid higher or lower settings, but keep in mind that the
best sound quality can be achieved within this range.
Settings in this also provide sufficient leeway above and
below for later adjustments.
It is also important to watch the VU meters when setting
the input and master faders. The meters should never read
higher than about “0 VU” on their scales. If they do, then
the mixers levels are too high and the power amplifier may
be overloaded causing distortion. Remember that chang-
ing any single input channel fader setting will affect the
overall output level. It's usually best to make small adjust-
ments in output level by using the MASTER faders. But if
that means setting the MASTER faders to extremely low or
high positions (lower than about “20” or higher than “5”
on the scale), then the overall mix should be re-adjusted
using the input channel faders so that a proper VU meter
reading is obtained with the MASTER faders in a more
reasonable range.
10
11
Channel EQ
The HIGH, MIDDLE 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 equalization.
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 separating 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 clearly 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 microphone. Experimentation and experience
will tell you how much EQ is right for different types of
sound. Also keep in mind the fact that the CLIP LED
indicator is post-EQ. This means that excessive equaliza-
tion can cause the CLIP LED to light indicating that you
either need to reduce the input gain control or reduce the
amount of equalization being applied.
Using the Digital Signal Processor Section
The EMX-series mixers feature a built in digital signal processor (DSP) that provides a range of 15 top quality digital effects.
Each effect program has one parameter that can be edited over a range of 10 steps to modify the sound of the effect to a
certain degree. The effect programs, their program “numbers” and the programmable parameters they provide are listed
below.
LARGE HALL REVERB TIME
SMALL HALL REVERB TIME
CATHEDRAL REVERB TIME
DEEP REVERB REVERB TIME
SOLO REVERB REVERB TIME
SMALL CLUB REVERB TIME
LIVE ROOM REVERB TIME
TUNNEL REVERB REVERB TIME
SLAP REVERB REVERB TIME
ATTACK DELAY ROOM SIZE
SHORT GATE ROOM SIZE
PLATE ECHO ROOM SIZE
DOUBLER RIGHT-CHANNEL DELAY TIME
MULTI-ECHO RIGHT-CHANNEL DELAY TIME
STEREO ECHO RIGHT-CHANNEL DELAY TIME
__ To Select an Effect Program: | |
1.
Use the LA] and/or К keys to select the desired
effect program. The number of the selected effect
program is shown on the 7-segment LED display. When
an effect is initially selected, it's number will be flashing
on the display indicating that the effect has been
selected but not yet recalled (the previously selected
effect is still active).
. Press the RECALL key to recall and activate the selected
effect.
. Use the DSP section ON switch to turn the select effect
ON or OFF as required. An optional YAMAHA FC4 or
FC5 footswitch connected to the rear-panel FOOT SW
{DSP MUTE) jack can also be used to turn the selected
effect ON or OFF.
NOTE: When the power switch is initially turned ON, pro-
NOTE:
NOTE:
gram 1 (LARGE HALL) is automatically selected.
The EMX mixer's digital signal processor works in
conjunction with the input channel AUX 2/DSP con-
trols,the AUX SEND 2 fader, andthe AUXRTN 2/DSP
control. Refertothe descriptions ofthese controls on
page 4, 6 for details.
segment LED display will light if the digital signal
processor analog-to-digital converter reaches or ex-
ceeds 3dB below clipping level. Ifthe DSP PEAK LED
lights more than just briefly on transient peaks, the
AUX 2 controls settings or AUX SEND 2 fader setting
should be reduced to avoid distortion of the effect
signal.
The DSP PEAK LED located to the lower left of the 7-
OPERATING TIPS
1.
2.
To Edit the Selected Effect: |
First select and recall the effect to be edited.
Press the TIME / MEMORY key. The LED dot immedi-
ately to the right of the 7-segment LED display will light
to show that the TIME mode is active. The current value
of the programmable parameter for the selected effect
program (0 — 9) will be shown on the 7-segment LED
display.
. Use the LA] and/or Vi keys to set the new effect pa-
rameter value.
. Press the TIME/MEMORY key again to return to the
normal effect program selection mode (the dot to the
right of the 7-segment LED display will go out).
NOTE: The initial parameter values for all effect programs
TIME/
MEMORY
RECALL
о 9 У
are automatically restored whenever the power
switch is turned ON.
E
ON
1 J off : Effect program selection mode
lights on : Effect parameter selection mode
12
13
Graphic Equalization
Graphic equalization has two main uses in powered mixers
like the EM X-series: compensation for acoustic deficiencies
in the listening area and feedback control. Like the channel
equalizers, the graphic equalizers should be left alone
unless it is absolutely necessary to use them. The more
equalization you use, the more phase deviation you
introduce into the program signal, and this can result in an
unnatural, distorted sound. There are many instances,
however, in which the listening area itself causes response
anomalies due to it's 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 frequency
range may be called for. Smaller symmetrical rooms (a
square room being the worst case) can actually have
resonant frequencies within the audible low-frequency
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 microphone 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 will have to be found by experimentation).
This will compromise the overall frequency response of
the program, but it's better than facing the possibility of
squealing feedback in the middle of an important perform-
ance.
GRAPHIC EQUALIZER
EQ
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Connecting Speakers
The EMX-series powered mixers have two 1/4" phone-jack
speaker outputs per channel, which are internally con-
nected in parallel. This places some restrictions on their
use.
MF YOU CONNECT SPEAKERS TO ONLY ONE OF THE
AVAILABLE SPEAKER OUTPUTS ON EITHER CHANNEL
(L OR R), THE TOTAL IMPEDANCE OF THE SPEAKER
SYSTEM CONNECTED TO THAT CHANNEL MAY BE NO
LESS THAN 4 OHMS.
EH IF YOU CONNECT SPEAKERS TO BOTH OF THE AVAIL-
ABLE SPEAKER OUTPUTS ON EITHER CHANNEL (L OR
R), THE TOTAL IMPEDANCE OF THE SPEAKER SYS-
TEMS CONNECTED TO EACH OUTPUT OF THAN
CHANNEL MAY BE NO LESS THAN 8 OHMS (two 8-ohm
speaker systems connected in parallel form a 4-ohm
load).
E THE MAXIMUM TOTAL IMPEDANCE OF SPEAKERS
CONNECTED TO THE SPEAKER OUTPUT(S) OF EACH
CHANNEL SHOULD BE 16 OHMS.
HE MAXIMUM SPEAKERS ALLOWABLE PER CHANNEL:
ONE 4-OHM SPEAKER. TWO 8-OHM SPEAKERS. FOUR
16-OHM SPEAKERS.
While a higher total load impedance than the recom-
mended 16 ohms will only result in a loss of power output,
a total load impedance that is too low can actually damage
the powered mixer. With a total load impedance of 8 ohms
(one 8-ohm speaker or two 16-ohm speakers) the maxi-
mum output power of the EMX2 150 is 90 watts, and the
maximum power output of the EMX2200 or EMX2300 is
160 watts. With a total load impedance of 4 ohms (one 4-
ohm speaker or two 8-ohm speakers) the maximum power
output of the EMX? 150 is 150 watts, while the maximum
power output of the EMX2200 and EMX2300 is 250 watts,
HB NEVER CONNECT OR DISCONNECT SPEAKERS WHILE
THE MIXER'S POWER IS TURNED ON !
|
N=
MAX RMS OUTPUT 2504647
i and 25-160
1 or 24-166
Г вт SPEAKERS г L 1
SAMPLE APPLICATIONS
A Small Sound System
The accompanying illustration shows a simple sound reinforcement system set up using the EMX2200 {8-channel model)
Powered Mixer. In the example, microphones are connected to inputs 3 through 8 — some for vocal use and some for
pickup of acoustic instruments. The first two channels (1 and 2) directly accept the output from an electric piano and a
synthesizer. An external effects device is connected into the AUX 1 send/return loop, complementing the mixer's internal
AUX 2 digital signal processor. The LINE OUT jacks are connected to a cassette recorder so that the performance can be
recorded directly via the mixer. The PA-type speakers : are connected to the mixer's output channel via the SPEAKER OUT 1
jack.
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Microphones
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— т Instruments
PA-type Speakers
14
This system is basically similar to the simple sound system described above, except that it provides on-stage monitor
speakers for the performers and a few other refinements.
In this system the channel 1 and 2 inputs receive the stereo line-level signal from a multi-keyboard setup via the HI-Z
inputs, while channels 3 through 8 receive low-impedance microphones. The microphones connected to channels 3
through 6 are used for instrument pickup, while the last two channels (7 and 8) receive the vocals. External compressors
are patched into the channel 7 and 8 CH INSERT IN/OUT jacks to provide a smooth vocal sound with minimum level
variations. An on-stage monitor mix for the vocalists is set up using the AUX 1 controls: the AUX SEND 1 jack feeds a
power amplifier which in turn drives the on-stage monitor speakers. The internal digital signal processor is used for all
required effects. A tape player connected to the AUX RTN 1 jacks provides background music during breaks (and/or
recorded accompaniment or sound effects for the performance). The LINE OUT jacks feed a remote monitor amplifier and
speakers which provide sound in the performer's dressing rooms or other areas.
Sound Reinforcement with On-stage Monitors
Monitor Speakers
Keyboard
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15
SPECIFICATIONS
Maximum Output Power (Both channels driven)
~ EMX2150: 150 W/4 ohms, 0.5% THD at 1 kHz. 90 W/8
ohms, 0.3% THD at 1 kHz
EMX2200: 250 W/4 ohms, 0.5% THD at 1 kHz. 160 W/8
12300 ohms, 0.3% THD at 1 kHz
Graphic Equalizer
+12 dB maximum boost or cut in each of nine bands (L/
R): 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k Hz
Total Harmonic Distortion
POWER AMP IN to SPEAKER OUT
EMX2150: Less than 0.1%, 20 Hz — 20 kHz, 75 W output
into 4 ohms.
EMX2200: Less than 0.1%, 20 Hz — 20 kHz, 126 W output
/2300 into 4 ohms. `
Channel Input to LINE OUT
Less than 0.2%, 20 Hz — 20 kHz, +4 dB output
into 10 k-ohms.
Frequency Response
+1, -3 dB, 20 Hz — 20 kHz, 1 W into 8 ohms (SPEAKER
OUT).
Hum & Noise (20 Hz — 20 kHz, Rs=150 O, input pad @ 0 dB,
input sensitivity @ -60 dB)
-126 dB equivalent input noise.
—62 dB residual output noise (SPEAKER OUT).
-88 dB residual output noise (LINE OUT).
—73 dB (77 dB S/N) at LINE OUT, Master fader maxi-
mum, all channel faders minimum.
(66 dB S/N) at LINE OUT, Master and one
channel fader maximum.
(77 dB S/N) at AUX SEND, Master fader maxi-
mum, all channel AUX controls minimum.
(68 dB S/N) at AUX SEND, Master fader and one
channel AUX control maximum.
-62 dB
-73 dB
—64 dB
Maximum Voltage Gain
90 dB CHIN to SPEAKER OUT (EMX2150) —
92dB CHIN to SPEAKER OUT (EMX2200/2300)
64 dB CH IN to LINE QUT
64 dB CH IN to AUX SEND 1—2 (+4 dB)
50 dB CH IN to AUX SEND (-10 dB)
24dB AUX RETURN to LINE OUT
26 dB POWER AMP IN to SPEAKER OUT (EMX2150)
28 d8 POWER AMP IN to SPEAKER OUT (EMX2200/
2300)
Crosstalk
—60 dB at 1 kHz, adjacent channel inputs.
-60 dB at 1 kHz, input to output.
Input Channel Gain Control
40 dB range (-60 — -20 dB), stop to stop.
Input Channel Pad Switch
0/20 dB attenuation.
Input Channel Equalization (15 dB maximum boost or cut)
HIGH: 8 kHz (shelving).
MIDDLE: 2 kHz (peaking).
LOW: 100 Hz (shelving).
Digital Signal Processor Effects
1: LARGE HALL 2: SMALL HALL
3: CATHEDRAL 4: DEEP REVERB
5: SOLO REVERB 6: SMALL CLUB
7: LIVE ROOM 8: TUNNEL REVERB
9: SLAP REVERB
A: ATTACK DELAY
C: PLATE ECHO
E: MULTI-ECHO
B: SHORT GATE
D: DOUBLER
F: STEREO ECHO
Level Meters
2 illuminated meters (+5 VU = 150 W/4 ohms —
EMX2150. +5 VU = 250 W/4 ohms — EMX2200/2300)
Clip Indicators
LEDs for each input module: CLIP (red) lights when post-
EQ signal is 3-dB below clipping.
DSP clip indicator lights when A/D signal is 3-dB below
clipping.
Phantom Power
+48 V DC applied to electronically balanced inputs (via 6.8
kQ current limiting/isolation resistors).
Power Requirements
U.S & Canada:
General model:
AC 120 V 60 Hz
AC 220/240 V 50 Hz
Power Consumption
U.S & Canada:
EMX2150 500 W, 600 VA
EMX2200 800 W, 1000 VA
EMX2300 800 W, 1000 VA
General model:
EMX2150 500 W
EMX2200 800 W
EMX2300 800 W
Dimensions (W x H x D)
EMX2150 533.0 x 220.5 x 600.0 mm
(21” x 7-7/8" x 23-5/8")
EMX2200 613.0 x 220.5 x 600.0 mm
(24-1/8" x 7-7/8" x 23-5/8")
EMX2300 773.0 x 220.5 x 600.0 mm
(30-7/16" x 7-7/8" x 23-5/8")
Weight
EMX2150 21.2 kg (46 Ibs. 12 oz)
EMX2200 25.9 kg (57 Ibs. 1 oz)
EMX2300 30.0 kg (66 Ibs. 1 oz)
* OdB = 0.775Vrms.
Specifications and appearance subject to change without
notice.
16
Console Dimensions (W x H x D)
17
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9200 930030930133 3 33533
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_ ЕМХ2200 613 (24 - 1/8") _ | .
4 EMX2150 533 (21") in 220.5 19- 11/16),
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UNIT : mm (Inch)
a INPUT CHARACTERISTICS
Lo.z | OFF -60dB
(0dB)
CH Input
Hi -Z
20dB)
AUX RETURN 1, 2 (L, R)
CH INSERT IN
GEQIN (L, R)
POWER AMP IN (L, R)
= OUTPUT CHARACTERISTICS
LO-Z = 4 kQ
-20dB| Н!-2 = 10 КО
10 kQ
10 kQ
10 kQ
10 kQ
50-600 Q
Microphones
& —20dB (77.5mV) -20dB (77.5m
600 Q Lines
OdB (775mV)
600 Q Lines
600 Q Lines
600 Q Lines
600 Q Lines
—60dB (0.8mV)
—-6dB (388mV)
+4dB (1.23V)
+4dB (1.23V)
-20dB (77.5mV)|-20dB (77.5m
OdB (775mV)
—6dB (388mV)
+4dB (1.23V)
+4dB (1.23V)
N/A
N/A
-60dB (0.8mV)|-34dB (15.5mV)
+26dB (15.5V)
+20dB (7.75V)
+20dB (7.75V)
(Balanced)
+6dB (1.55V)
XLR-3-31 type
Phone Jack (TRS)
(Balanced)
Phone Jack (TRS)
(Unbalanced)
(Unbalanced)
(Unbalanced)
Phone Jack (TRS
Phone Jack (TRS
Phone Jack (TRS)
{Unbalanced)
8 Q speakers 90W
EMX2150 0.08 © N/A Phone Jack
SPEAKER OUT 1, 2 4 © speakers 150W
(L, R) EMX2200 8 Q speakers 160W
0.08 Q N/A Phone Jack
EMX2300 4 Q speakers 250W
LINE OUT (L, R) 600 Q 10 kQ Lines +4dB (1.23V) +20dB (7.75V) Phone Jack
GEQ OUT IL, R) 600 Q 10 kQ Lines +4dB (1.23V) +20dB (7.75V) Phone Jack
AUX SEND 1 150 Q 600 Q Lines +4dB (1.23V) +20dB (7.75V) Phone Jack
+ 4dB 150 Q 600 Q Lines +4dB (1.23V) +20dB (7.75V) Phone Jack
AUX SEND 2 ,
-10dB 600 Q 10 kQ Line —10dB (245mV) +6dB (1.55V) Phone Jack
CH INSERT OUT 600 Q 10 kQ Line -64В (388mV) | +20dB (7.75V) | Phone Jack (TRS)
(Unbalanced)
PHONES 150 Q 8 Q Phones 75mW 75mW Stereo Phone Jack
* Input level required to produce rated +4dB output level.
All Phone Jack are unbalanced.
In these specifications, when dB represents aspecific, 0dB is referenced to 0.775Vrms.
dealer.
SERVICE
This product is supported by YAMAHA's worldwide network
of factory trained and qualified dealer service personnel.
In the event of a problem, contact your nearest YAMAHA
18
Dette apparat overholder det gaeldende EF-direktiv
vedrorende radiostoi.
Cet appareil est conforme aux prescriptions de la
directive communautaire 87/308/CEE.
Diese Geräte entsprechen der EG-Richtlinie 82/
499/EWG und/oder 87/308/EWG.
This product complies with the radio frequency
interference requirements of the Council Direc-
tive 82/499/EEC and/or 87/308/EEC.
Questo apparecchio é conforme al D.M.13 aprile
1989 (Direttiva CEE/87/308) sulla soppressione
dei radiodisturbi.
Este producto esta de acuerdo con los requisitos
sobre interferencias de radio frequencia fijados
por el Consejo Directivo 87/308/CEE.
YAMAHA CORPORATION
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.
BLOCK & LEVEL DIAGRAM / SCHEMA DE PRINC
— a a — Cu
Ц CLIP PAN
Lo-7 1 В
CHI INPUT (-60-0) > 7
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de de | FADER x Ly
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GAIN _, AUX 1
of
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x2 AUX 2
Г = = = = - 1
Г сн 2 - 4 CH 2 - 8 —_—
SAME AS CH 1 (EMX2150. 2200) SAME AS CH 1 (EMX2300)
- - - - - À
{1 CLIP PAN
o (O 7
CH 5(EMX2150. 2200) or Qu BA J
CH 9 (EMX2300) €”
INPUT LO-Z(-60=0) © FADER x U
GAIN ‘
FSW
CH INSERT -
IN/OUT (-6) || NS | 3 AUX I +H
x AUX 2 НО
| CH 6 CH 6 - 8 |
| SAME AS CH 5 (EMX2159) SAME AS CH 5 (EMX2200) —_—
CH 10 - 12
| SAME AS CH 9 (EMX2300) |
of To>
L = PTE
| AUX RTN 11 > 7%
AUX RTN 1(-20) AUX 2
4 a>
R Le LT
|
On, Tos
- | ol A = AUX 1
AUX RTN 2(-20) | AUX RTN 2, + > ;
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ES EX
22 —°
+20 PRE AMP CIRCUIT CLIP LEVEL (+20) _ _ _
CH CLIP INDICATOR TURN ON{(+1?) — - - — —
+10
0 PAD ON/GAIN MIN(O)
CH INSERT IN/OUT(-6) ________ AUX 1.2 ___.
-10 TN om EC =
ñ No” AUXI,2(-9) MASTER L.R
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20 PAD OFF/GAIN MIN(-20) AUX RETURN (-20) (AUX RETURN)
-30
-40
-50
-60
PAD OFF/GAIN MAX(-60)
58
NCIPE ET NIVEAUX / BLOCK- 8: PEGELDIAGRAMM
a -a
—
АЛЛО,
| LINE OUT L(+4)
MASTER L
( GEG L OUT/IN 1 SEQ OUT L (44) XX >
GEQ IN L(+4) |= | NMo—-m—0—
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PEER HUNNN
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+ | PHONES (1aW)
MASTER R | |
SAME AS MASTER L |
+
7 X1 AUX | PRE EQ/POST EQ/POST FADER JUMPER
>» O
su | > AUX SEND 1 (+4) X2 AUX 2 PRE EQ/POST EQ/POST FADER JUMPER
AUX SEND 1
* 0dB=0. 775V
1 su y > P— VW —0——v (+4) x CLIP LED INDICATORS TURN ON LEVEL=-3dB BEFORE CLIP(+17d8)
— AUX SEND 2 AUX SEND 2 xxx ANALOG METERS +3VU=FULL POWER
® ‘ XAO ALL FADER & VOLUME NOMINAL POSITION=MAXIMUM POINT
|} (-10)
DE-EMPHASIS
PRE-EMPHASIS
|
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— DSP ON
———e
> RECALL 00
UP 0“
1 X
La MEMORY 9
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CETTE цы
AUX SEND 2(-10)
DSP CLIP INDICATOR TURN ON(+17) — — - - —— \
1 +10
LINE OUT. AUX SEND.GEQ OUT.GEQ IN.POWER AMP IN(+4) \
SPEAKER OUT (250W/4R)
{EMX2200. ENX2300)}
SPEAKER OUT (150W/4
Y (EMX2150)|) +20
e == e am ue = 0
PHONES (7594/80)

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