Yamaha EM-85 Owner's manual

Yamaha EM-85 Owner's manual
INSTRUCTION MANUAL
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This instruction manual was prepared to assist you in getting the most out of your EM-85. While you may already have
begun using the unit, we urge you to read this manual thoroughly, and to re-read it as you become more familiar with the
EM-85's features and functions. : ‘
WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.
TABLE OF CONTENTS
INTRODUCTION © ee кк кк веке, я
$РЕС1Н!САТЮМ$ .... 2..5... 2..2... 2
BRIEF OPERATING INSTRUCTIONS
FRONT PANEL . . oot i mete ee ee ee eee eeu 3
REAR PANEL ....eñeÑoeremeredarnena nero, 5
GETTING THE MOST FROM THE BUILT-IN
ANALOG DELAY LINE .....epc_eoororxnoareroe 7
ЗЕТТИМС ОР... . 2..2... 2.2... 5... ee ee 7
APPLICATIONS ....... 4 AL 4 a 1 1 a Re 4 La a à 8
BLOCK DIAGRAM . .......... 1 0 1 3 4 a 11 01 02 6 10
INTRODUCTION
The Yamaha EM-85 is an integrated mixer
with a built-in power amplifier, 200 milli-
second analog delay line, and RIAA phono
preamp. There are four regular mic/instru-
ment/line input channels. Each of these
channels has a two-frequency equalizer, an
echo (delay) send, a 3-position input
selector for use with mics, instruments and
lines, and a rotary volume control. A fifth
input channel is switchable for either of
two auxiliary line inputs or a phonograph
input (mono or stereo). The mixer’s solid state power amplifier
delivers 45 watts (RMS) into 8 ohms or 70 watts into 4 ohms, and there are two parallel speaker outputs,
each having both a phone jack and push-terminals. This provides the greatest compatibility, speed and ease of set up. There
are also line output and recorder output jacks for feeding additional amplifiers, other mixers, tape recorders, and so forth.
NOTE: In this manual, where a specific signal level is described in dB, 0dB
is referenced to 0.775 volts RMS.
SPECIFICATIONS
GENERAL SPECIFICATIONS
MAXIMUM OUTPUT POWER
FREQUENCY RESPONSE
TOTAL HARMONIC
DISTORTION (THD)
INTERMODULATION
DISTORTION
* HUM and NOISE
(20 Hz to 20 kHz,
150 ohms source)
MAXIMUM VOLTAGE GAIN
(Input Selectors set
at Mic position).
EQUALIZATION
| CROSSTALK
ANALOG DELAY LINE
POWER REQUIREMENTS
POWER CONSUMPTIONS
DIMENSIONS
WEIGHT
70 watts into 4 ohms, or
45 watts into 8 ohms, continuous average sine wave (RMS).
+ 1dB, 30 Hz to 10 kHz or
+1, —4dB, 20 Hz to 20 kHz, (35W, 442)
@35 watts into 4 ohms.
Less than 0.5% 50 Hz to 10 kHz,
Less than 0.2% @1 kHz,
@35 watts into 4 ohms.
Less than 0.5%, (70 Hz : 70 kHz = 4 : 1)
@35 watts into 4 ohms.
** —116dB Equivalent input noise;
—38dB residual output noise, Master Volume
and one Input Volume at max. ;
—42dB residual output noise, Master Volume at max
and all Input Volume controls at min.
77dB, Channel In to Speaker Out.
50dB, Channel In to Line Out.
47dB, Channel In to Record Out.
47dB, Aux in to Speaker Out.
77dB, Phono In to Speaker Out.
BASS + 12dB @100 Hz, shelving.
TREBLE + 12dB @10kHz, shelving.
—60dB @1 kHz, adjacent inputs.
100 to 200 milliseconds, continuously variable,
and with variable feedback.
US & Canadian models 120 volts, 50/60 Hz
General model 110, 130, 220 or 240 volts, 50/60 Hz
US 8: Canadian models 120 watts
General model 185 watts
16-1/8"" W x 9-1/2""D x 8-3/4" H,
(410 mm W x 242 mm D x 225 mm H).
20 pounds (9.2 kg).
* Compensated with a 6dB/octave filter 012,47 kHz.
** In these specifications, OB is referenced to 0.775 volts RMS.
Specifications are subject to change without notice.
INPUT CHARACTERISTICS
In these specifications, OdB is referenced to 0.775 volts RMS.
o, Actual Load For Use with — Input Level
| Connection Impedance Nominal Nominal Max. before clip Connector
[INPUTS (1 ~ 4CH) :
MIC. 50k0 150 - 3kQ —50dB (2.5mV) —22dB (62mV) |
INST . Sources —35dB (14mV) — 7dB (346mV) Phone Jack
| LINE a. —20dB (78mV) + 8dB (1.93V) |
AUX INPUTS (CHS) К,
: AUX М1 30kQ B5kKQ —20dB (78mV) — Phone Jack
AUX IN 2 30kQ 5KO —20dB (78mV) — 2 x Pin Jack
PHONO 47kQ mag. cart. —50dB (2.5mV) —22dB (62mV) 2 x Pin Jack
OUTPUT CHARACTERISTICS
| Actual Source For Use with Output Level
Connector Impedance Nominal Nominal Max. before clip Connector
SPEAKER 020 _ 402 70W Phone Jack
1 and/or 2 482 & up 89 45W Terminals
LINE OUT 10082 10k2 8 up 0dB (775mV) — Phone Jack
REC. OUT 2.2kQ 10k? 8 up —3dB (550mV) +15dB (4.94V) Pin Jack
BRIEF OPERATING INSTRUCTIONS
NOTE: Make all signal and speaker connections before turning on the AC
POWER switch.
FIG. 1. FRONT PANEL
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INPUT CHANNEL (Typical of Input channels 1 through 4)
O Input Jack
This 1/4” (6.3 mm) tip-sleeve phone jack accepts signal for the channel input. The inputs are un-
balanced.
0 Volume
This control sets the channel's mix level.
O Input Selector Switch Ш
This slide-switch adjusts the input jack's sensitivity for best results with different input sources.
“Line” position is for tape machine outputs and high level synthesizers with nominal —20 dB out-
put level. “Inst” position is for guitars, electric pianos, and other keyboards with nominal —35 dB
output level. ‘Mic’ position is for high or low impedance microphones with nominal —-50 dB out-
put level.
O Bass and Treble
Two knobs per input channel allow +12 dB of equalization (tone control), with “flat” response at
center position. The knee of the EQ curve is 100 Hz for the Bass control, and 10 kHz for the Treble
control,
© Echo
This knob feeds the mix bus that drives the built-in analog delay line. The feed is post-EQ and
Volume controls,
BRIEF OPERATING INSTRUCTIONS
AUX / PHONO CHANNEL
Note: Input jacks for this fifth channel are located on the EM-85 rear panel.
O Volume
This control sets the auxiliary input or phono input mix level.
O Input Selector Switch
This slide-switch selects any of three input sources to the channel: Aux 1 isa 1/4” (6.3 mm) tip-
sleeve phone jack that accepts nominal —20 dB signals. Aux 2 is a pair of RCA-type pin jacks
(phono jacks) that also accept nominal —20 dB signals. Either or both of the Aux 2 jacks may be
used since both are wired to the Aux 2 input point. PHONO is another pair of RCA-type pin jacks,
both of which feed the same PHONO input point. PHONO is designed for —50 dB nominal level,
and is RIAA equalized to be compatible with magnetic phonograph cartridges, either mono or
stereo.
O Bass and Treble
These two knobs are identical to the input channel EQ controls, except they affect only the selected
auxiliary input source, |
MASTER CONTROLS
O Echo Volume
This control sets the level of the signal from the built-in analog delay line that is mixed back with
the “direct” sound in the Speaker, Record and Line outputs. (It is an echo return control.)
@ Delay Time
This control continuously varies the length of delay from 100 to 200 milliseconds.
O Feedback
This control adjusts the amount of output from the delay line which is mixed back into the delay
circuitry. Increasing the amount of Feedback lengthens the duration of an echo. If Feedback is set
high enough, oscillation (howl or run-away echo) can occur. This undesirable condition can be
remedied by lowering the Feedback setting. |
® Master
This control adjusts the level at the Speaker outputs and the Line output, but does not affect the
Record output level. |
® Power Switch and Indicator
A rocker switch turns the AC power On and Off. The red pilot lamp above the switch is On when
power is On.
BRIEF OPERATING INSTRUCTIONS
FIG. 2. REAR PANEL
REAR PANEL
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US Model
O AC Power Cord |
This 3-wire cord is for connection to any 120 voits AC, 50 or 60 Hz grounded outlet of US €
Canadian models, and to any one of 110, 130, 220 and 240 volts AC, 50/60 Hz of General model.
O Fuse |
To replace a fuse, unscrew the fuse holder cap with a phillips or slot- blade driver. Use a 3 amp 250
volts type fuse with US & Canadian models, and 1.6 amp 250 volts type fuse General model. If the
fuse blows repeatedly, check for a short or overload in the speaker connections, or consult the
Service instructions on the back cover of this manual. |
® Speaker Outputs 1 & 2
There are two sets of parallel-wired speaker outputs (#1 and #2), each of which has a 1/4" (6. 3mm)
tip/sleeve phone jack and a pair of push-terminals. If a phone jack is used, the associated push
terminals are automatically disconnected from the amplifier. The minimum overall load impedance
is 4 ohms, | |
When a single 4 ohms speaker is connected to either the #1 or #2 output, the amplifier will deliver
up to 70 watts continuous average (RMS) power. When a single 8 ohms speaker is connected to
either the #1 or #2 output, the amplifier will deliver up to 45 watts continuous power. If using a
pair of 8 or 16 ohms speakers, connect one each to the #1 and #2 outputs. We recommend using 18
gauge "zip cord’ or even heavier wire; strip 1/3” of insulation, twist the strands, press in the tab on
the speaker output terminal, insert the bared wire in the center hole, and release the tab.
CAUTIONS
1. Do not connect more than one 4 ohms speaker to the mixer since the amplifi-
er will be overloaded.
2. 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 an
input unless directed to do so by this manual.
BRIEF OPERATING INSTRUCTIONS
O Line Output
This unbalanced 1/4” (6.3 mm) tip/sieeve phone jack carries the mixed signal from all the input
channels, including the auxiliary input, and from the delay line. The level is controlled by the
Master volume control, and is nominally 0 dB. This jack is designed to medium to high impedance
inputs, such as other mixers, power amplifiers, or tape recorders.
© Record Outputs
This pair of RCA-type pin jacks (phono jacks) both carry the same signal, which differs from the
Line output in that it is not affected by the Master volume control.
Record Out has a nominal level of —3 dB, and is designed to feed high impedance line inputs such as
tape recorders or power amplifiers which have their own volume controls. Use one jack to feed
single-channel equipment, or both jacks to feed dual-channel equipment (or two different pieces of
single-channel equipment).
@ Auxiliary Inputs 1 & 2
Aux In 1 is an unbalanced 1/4” (6.3 mm) tip/sieeve phone jack intended for connection of the
output of another mixer or tape recorder. Alternately, it can serve as a spare input for a preampli-
fied instrument such as a synthesizer. This jack is “live” only when the front panel Aux input
selector switch is set to “Aux 1” position.
Aux In 2 is a pair of parallel- wired RCA- -type pin jacks intended for connection of the output from
‚а tape recorder, FM tuner, a stereo high fidelity system, and so forth. Use one jack for mono sources
and both jacks for stereo sources (which are then mixed internally to mono). These jacks are “live”
only when the front panel Aux input selector switch is set to “Aux 2” position.
Both the Aux 1 and Aux 2 inputs have nominal —20 dB sensitivity, and are intended for use with
“low or high impedance outputs. a. |
@ Phono Input
This input is a pair of RCA-type pin jacks that are intended for direct connection of a magnetic
phonograph cartridge. The jacks are mixed internally, via isolation resistors, to mono, and feed a
built-in RIAA preamplifier. Thus, the Phono Input is suitable for inputs from mono or stereo
cartridges, but should not be used with a- microphone or other source. The Phono input is “live”
only when the front panel Aux input selector switch is set to “Phono” position. Nominal sensitivity
15 —50 dB, with an actual input impedance of 47 kohms. |
NOTE: Even if only one of the two Phono inputs is used, both of the supplied shorting plugs
should be removed. |
A ground post is located above the input Jacks, and should be used to ground the phonograph
chassis to the mixer chassis to reduce hum. Unscrew the knurled sleeve, and slide a stripped end of
the ground wire through the hole in the center post. The other end of the wire should be connected
to the phonograph chassis.
GETTING THE MOST FROM THE BUILT-IN ANALOG
DELAY LINE
WHAT IS AN ANALOG DELAY LINE ?
An analog delay line is an electronic circuit that provides echo and related effects by slowing down audio signals---a more
capable space-age alternative to older style tape-loop echo machines and reverb springs. The term “analog” means that the
audio signal retains its original voltage levels throughout the electronics. Since there are no moving parts in the delay,
maintenance is unnecessary. Moreover, the normal shocks or vibration encountered in touring and in high sound level
environments do not affect the sound.
ECHO AND REVERB EFFECTS ?
“Echo” and “reverb” are often confused with one
another, and there is some overlap in their definitions.
Generally speaking, “echo” consists of one or more
distinct, delayed sound images with recognizable attacks.
““Reverb’’ also consists of multiple delayed sound images,
but they smear together and have no discretely discern-
able attacks. |
To get a single echo from the delay line, set the Feedback
control at zero, and adjust the time delay as desired. For
multiple echoes, turn up the Feedback control. If the
input program has little or no sharp musical attacks (i.e.,
legato string lines or melodic vocal backups), then the
multiple echoes with a long delay time can sound like a
reverb. When there are more sharp attacks and decays in
the program material, the effect will be more repetitive.
MANUAL PITCH BEND WITH FEEDBACK?
It is possible to obtain changes in pitch (frequency) by
using the delay line! Simply set the Feedback at about #5,
and vary the Delay Time up and down between #0 and
#10, or anywhere on the scale. If you move the Delay
control up or down and then hold it at the new setting,
the pitch will increase or decrease, then stay constant
until the delay dies out or a new sound is introduced.
SETTING UP
“ Move control up and down to achieve
FIG.3. ECHO/REVERB DELAY CONTROL SETTINGS.
YAMAHA
INTEGRATED MIXER EM SERIES MODEL
| ©
Set in shaded area for multiple echos,
or at “0” for a single echo.
Set as desired for a short or long delay. ———e
Adjust to balance total echo effect
proportion to overall program mix,
“o D Ent
ECHO VOLUME MASTER
FIG. 4. PITCH BEND DELAY CONTROL SETTINGS
CO YAMAHA
INTEGRATED MIXER EM SERIES MODEL
Set at approximately this range, then. wy ®
Do not adjust during the effect, AN
pitch shift.
Adjust as desired, usually toward high
end of control scale.
ECHO VOLUME MASTER
If runaway Feedback (Howling) should occur, immediate-
ly turn down the EM-85 Feedback control.
Before turning on the mixer's AC power switch, connect
all inputs, outputs and speakers, and be sure the Feedback
control is at #0. If other electronic equipment or electro-
nic instruments are connected to the EM-85's inputs, turn
on that equipment before turning on the mixer. This will
not only avoid annoying hum, it will help prevent turn-on
transients from damaging speakers or other equipment.
Set the input Line/Inst/Mic selector switches to compie-
ment the type of device that is plugged into the Input
Jack below. Set the Aux 1/Aux 2/Phono selector to
whichever of these three rear-panel inputs is in use (if
none is to be used, the switch setting should be Aux 1,
and the Aux Volume control set at minimum).
CAUTION
Do not connect the speaker output of any
amplifier to the mixer unless a suitable high-
level attenuation pad or “direct box” first
drops the level.
Initially, set the channel Volume controls at 40, and the
Master volume control at about #3. Turn all channel Echo
controls and master Echo Volume to #0, and center the
Bass and Treble controls. One channel at a time, bring up
the Volume controls {including Aux Volume if the Aux or
Phono input is in use) until the desired mix balance is
“achieved; these volume controls should be set somewhere
between #5 and #8. Then, if the overall volume is too low
or too high, readjust the Master volume accordingly. Once
the overall volume and balance are thus set, adjust the
Bass and Treble controls as desired.
If you want to add echo effects to orie or more channels,
first set the master Echo Volume control at about #5.
Then set the channel Echo controls to between #0 and
#10, depending on how much effect you want each
channel to contribute. Now. experiment with the delay
time and feedback controls to achieve the effect quality
you want, (See FIG. 3 and 4, and the associated
descriptions for suggested starting points to achieve
various effects). Finally, readjust the Echo Volume
control as required.
APPLICATIONS
FIG.5. USING THE EM-85 FOR A VOCAL SOUND REINFORCEMENT SYSTEM.
EM-85 (FRONT PANEL) (REAR PANEL) * Optional
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FIG. 6. USING THE EM-85 FOR A SOLO PERFORMER SOUND REINFORCEMENT SYSTEM.
INSTRUMENT EM-85 (FRONT PANEL) (REAR PANEL) | |
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FIG.7. USING THE EM-85 FOR A KEYBOARD SOUND REINFORCEMENT SYSTEM.
EM-85 (FRONT PANEL) | (REAR PANEL)
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The Aux 1 input can be used as a fifth input channel to accommodate a high level synthesizer output.
APPLICATIONS
FIG.8. USING THE EM-85 FOR AN INSTITUTIONAL PUBLIC ADDRESS SYSTEM.
EM-85 (FRONT PANEL)
(REAR PANEL)
From film projector line output.
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(To amplify projector sound.)
A SPEAKER (s)
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music or for recording a
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TAPE RECORDER/PLAYER source.)
FIG.9. EXPANDING THE NUMBER OF MIXING CHANNELS.
#1 EM-85 (FRONT PANEL)
(REAR PANEL)
SPEAKER
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MICS AND } Aux in level serves as submaster |
LINE INPUTS —— — — J for second mixer. | FM TUNER
#2 EM-85 (FRONT PANEL) (REAR PANEL) —
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MICS'AND ———
LINE INPUTS -
capacity.
N
If you need more than four line/inst/mic input channels,
you can use another mixer in conjunction with the EM-85.
The second mixer need not have a built-in power
amplifier. Simply connect the line-level output of the
second mixer to the EM-85 Aux 1 or Aux 2 input,
depending on which type of jacks match the mating cable,
and set the EM-85 Aux input selector accordingly. The
EM-85 Aux Volume control then serves as a sub master
for all the channels on the second mixer. |
In any of the previously described applications, it may be
desirable to connect a phonograph or tape machine to the
. . N
Linking two mixers for greater input
(And more power, if another self-powered mixer is used.)
—
SPEAKER
sound system for providing background music between
live performances, or for setup purposes. The tape
recorder (or an FM tuner) can be connected to Aux In 1
or 2, and the phonograph to the Phono Input.
Sometimes it is desirable to make a reference tape record-
ing of the live event. The EM-85's Record Out Jacks are
ideal for feeding a mono or stereo cassette recorder, or a
reel-to-reel recorder, Any adjustments in the Master
Volume, which are intended for sound level changes in the
room, will not affect the optimum record level, which is
adjusted at the recorder input.
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SERVICE
The EM-85 mixer 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 dealer,
[OMD-191 80112 A @ Printed in Japan
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