Yamaha EM1400 Owner's manual

Yamaha EM1400 Owner's manual
POWERED MIXERS
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ARAAAHARHAR
OPERATION MANUAL
EM1800
CONGRATULATIONS!
You are the proud owner of a Yamaha EM-series Powered Mixer. Whether you chose the 4, 6 or 6-
channel model, your Yamaha powered mixer is a high-quality product that will give you superior
performance in a wide range of applications. In addition to offering a powerful 100-watt amplifier..
built-in (150 watts into a 4-ohm load), the EM-series mixers feature a high-quality built-in reverb
system that can be used to add depth and ambience to your mix. Of course, you can use external
signal processing equipment in addition to the internal reverb system. For additional control and
versatility, the EM-series powered mixers offer three-band equalization on every input channel, and
a master six-band graphic equalizer for fine tuning the overall output mix. ВЕ |
Of course, the EM-series powered Mixers also offer the high standard of quality and great sound that
Yamaha is famous for. We urge you to read this operation manual thoroughly in order to make the
most of the mixer's many features and controls.
——— CONTENTS
PRECAUTIONS ................e.eeevevccooreorvecaceancae 2
FRONT PANEL CONTROLS -................eecesococcuro 3
Input Channels .........e..ee=recrecourererceconeeene.. 3
Master Control Section ...........—...eeeneercesnereos 5
REAR PANEL CONNECTORS AND
CONTROLS ...........e...eenenmeonezs aannsennencas0u00 0e 6
OPERATING TIPS cc oosccaruconeuvenensrmenmnnrs 7
Connecting Sources ........... arursecenne rene 00000 me 7
Matching Input Levels .............. enoococian ene 7
Channel EQ ..............e.eresieeieicoonerereeccae ae: 8
Graphic Equalization ........ erences 8
Connecting Speakers ............ewee.enerroorccovecenes 9
. A BASIC SYSTEM ..............eceecacavnraraaonacarveconeo 10
BLOCK & LEVEL DIAGRAMS ..............r.ecescecceo 11
SPECIFICATIONS eee, 12°
PRECAUTIONS
. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
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 are subject to excessive dust
accumulation or vibration. which could cause
mechanical damage.
: AVOID PHYSICAL SHOCKS |
Strong physical shocks to the unit can cause
damage. Handie it with care.
.DO NOT OPEN THE UNIT OR ATTEMPT REPAIRS
OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts.
Refer all maintenance to qualified Yamaha service
personnel. Opening the unit and/or tampering with
the internal circuitry will void the warranty.
. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or
disconnecting cables. This is important to prevent
damage to the unit itself as well as other connected
equipment. |
. HANDLE CABLES CAREFULLY
Always plug and unplug cables —including the AC
cord —by gripping the connector, not the cord.
. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to
clean the unit. Wipe clean with a soft, dry cloth.
. ALWAYS USE THE CORRECT POWER SOURCE
Make sure that the power source voltage specified .
on the rear panel matches your local AC mains -
supply.
U.S. & Canadian models: 120V AC (105 — 130V),
| 60 Hz
110-120/220-240V AC
General model:
| (+10%), 50/60 Hz
. XLR TYPE CONNECTORS
The XLR Type Input connectors are wired in the
following configuration: Pin 1: GROUND, Pin 2:
HOT, Pin 3: COLD.
Ensure that all equipment connected to the EM 1400
JEM 1600/EM 1800 matches this wiring.
ALSO CHECK THE PRECAUTIONS IN THE
“OPERATING TIPS” SECTION —
FRONT PANEL CONTROLS
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/ INPUT CHANNELS /
0 PAD Switch
This switch attenuates the signal applied to the
corresponding rear-panel HI-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,
preventing overloading of the input circuitry when
receiving high-level signals.
e 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.
- O 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.
O 3-band Equalizer O AUX 2/REV Control
These three controls permit individually modifying The AUX 2/REV control determines the level of the
the response of each channel. The HIGH, MIDDLE signal.sent from that channel to the AUX 2 mixing
and LOW EQ controls function as follows: - buss, which in turn feeds the internal reverb system
| | В as well as the rear-panel AUX SEND 2 jacks via the
| e SEND 2 fader. Please note that the SEND 2 fader
CONTROL - sue Fc TYPE | does not affect the level of the AUX 2 signal sent
a — | НЕ to the internal reverb system. |
| HIGH +15 dB 8 kHz Shelving | : |
e + 15 dB 2 Hz Peaking * AUX 2 is factory pre-wired for post-EQ/post-fader
en] | operation, so the AUX 2 signal is affected by the
LOW +15 аВ 100 Hz Shelving — setting of the channel EQ controls and fader. Internal
Е | jumpers allow the AUX 1 control to be rewired for
pre-EQ/pre-fader or post-EQ/pre-fader operation —
REFER THIS JOB TO YOUR YAMAHA DEALER OR
A QUALIFIED SERVICE CENTER!
© 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 determines the ‘’mix’’ or balance of sound
levels between the instruments or other sources
connected to the inputs. |
RESPONSE (dB) -
-10
—12
—14
-t6
10 100 1% 10k ICOR
FREQUENCY (Hz) | * If a channel is not being used, its fader should be
| | set to the minimum position to prevent unwanted
noise from being added to the main program signal.
O 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 (8)
and the AUX 1 jack (16) 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 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 factory pre-wired for pre-EQ/pre-fader
operation, 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!
© SEND 1 & SEND 2 Faders
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/REV controls
These controls adjust the level of the signal received
at the corresponding rear-panel AUX RTN jacks
and mixed into the main program. If no plug is
inserted into the AUX RTN 2 jack, the AUX RTN 2
‚| /REV control adjusts the level of the reverb signal
from the internal reverb system mixed into the main
program. If, however, an external effect device is
inserted into the AUX 2 RTN jack, the internal
reverb system will be bypassed.
Graphic Equalizer & EQ Switch |
This 6-band graphic equalizer allows fine response
shaping of the main output. It has 6 linear controls
with center frequencies of 250 Hz, 500 Hz, 1 kHz,
2 kHz, 4 kHz and 8 kHz. Each control permits a
maximum boost or cut of 12 dB. When set to the
center or “0” position, response in the correspond-
ing band is unaffected. The EQ switch turns the
graphic equalizer ON or OFF. |
OQ MASTER Fader
|”
The MASTER fader is the main “volume contro |
for the overall program mix, controlling the level of
the signal sent to the rear-panel SPEAKER OUT
1 & 2 jacks as well as the front-panel PHONES
jack. a
Q VU Meter
Displays the VU level of the signal appearing atthe
output of the mixer's power amplifier. The meter
is a useful aid in setting optimum output level using
the MASTER fader.
@ PHONES Jack
The PHONES jack delivers the main program signal
to a pair of 8 ohm stereo or mono monitor head-
phones, The MASTER fader adjusts the headphone
monitoring level.
REAR PANEL CONNECTORS AND CONTROLS
CAUTION
EACH SPEAKER IMPEDANCE
PRIMARY FUSE ;
‚ ©
© POWER Switch
Flip up to turn power ON, and down to turn power
OFF. The “POWER” lamp to the right of the VU
meter will light when the power is ON.
@HI-Z and LO-Z Input Connectors
Each input channel offers a choice of two input
connectors: a balanced LO-Z (low-impedance)
XLR-type connector and a balanced H!I-Z (high-
impedance) tip-ring-sleeve 1/4'' phone jack. The
LO-Z inputs are primarily intended for use with
professional low-impedance microphones or elec-
tronic instruments having low-impedance balanced
outputs. The HI-Z inputs will accept either balanced
or unbalanced signals from high-impedance micro-
phones, musical instruments or other source
equipment. |
— QAUX SEND 1 a AUX SEND 2 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
signal from AUX SEND 2 is also used for the
internal reverb system. |
@ AUX RTN 1 & AUX RTN 2 Jacks
‘The output from the effect units fed by the AUX
OUT 1 and AUX OUT 2 jacks can be returned to
the main program mix via these jacks. Nominal input
‘level/impedance is — 20 dB/10 k-ohms. |
© LINE OUT Jack
The LINE OUT jack delivers the main program signal
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
SCREWS SEE BOTTOM COVER FOR CAUTION MARKING. ©
4 1
a 7 a
be used to feed an external power amplifier, a tape
recorder, or any other device which accepts line-
level input. | -
OQ GEQ IN & GEQ OUT Jacks
An external line-level source signal can be fed
directly to the input of the graphic equalizer via
this jack. Inserting a plug into the EQ IN jack
disconnects the internal mixer program signal, so
only the external source is fed to the graphic
equalizer and power amplifier.
The GEQ OUT jack delivers the main program signal
after graphic equalization. In all other respects, it
functions in the same way as the LINE OUT jack
described above.
@ POWER AMP IN Jack
An external line-level source signal can be fed
directly to the input of the mixer's power amplifier
via this jack. Inserting a plug into the POWER AMP
IN jack disconnects the internal mixer program
signal, so only the external source is fed to the
-— power amplifier.
@ SPEAKER OUT 1 and 2 Jacks
These are the main speaker-ievel outputs from the
powered mixer. SPEAKER OUT 1 and SPEAKER
OUT 2 are standard mono 1/4’' phone plugs wired
in parallel. If you connect your speaker system to
only one of these jacks then the total load impedance
of the speaker system may be no less than 4 ohms. If
you plug speakers into both the speaker output
jacks the total load impedance of each speaker
system must be no less than 8 ohms.
OPERATING TIPS
/ CONNECTING SOURCES /
The fact that the EM-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.”
Professional low-impedance microphones and other
equipment almost invariably are fitted with an XLR
connector which matches the LO-Z inputs on the
mixer. Electronic musical instruments and other
equipment with relatively high-impedance outputs
usually have a phone-jack output connector that can
be directly connected to the HI-Z inputs using a
standard phone plug—phone plug cable. For your
— reference, the LO-Z and HI-Z connectors are wired
- as follows:
10-2 FO PAD [ THA
VS
HI-2 117.3
S R OT
7] |
GND O &
LO-Z Connector + | HI-ZConnector
Pin 1: GROUND Sleeve : GROUND
Pin 2: HOT (+) Tip : HOT (+)
Pin 3: COLD (—) Ring : COLD (—)
* MAKE SURE THE MIXER'S POWER SWITCH IS OFF
WHEN CONNECTING OR DISCONNECTING ANY
CABLES. |
* ALWAYS TURN THE MIXER'S POWER ON AFTER
TURNING ON CONNECTED SOURCES SUCH AS
ELECTRONIC INSTRUMENTS, ETC.
/ MATCHING INPUT 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. “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 3 dB
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.
PAD
20dB
GAIN
O CLIP
The HIGH, MIDDLE and LOW equalization controls
on each channel of the mixer make it possible to inde-
pendently 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 equalization 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.
“ OCLIP
o
15° +
HIGH
/ GRAPHIC EQUALIZATION /
Graphic equalization has two main uses in powered
mixers like the EM-series: compensation for acoustic
deficiencies 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 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 extremely effective reflectors
of high-frequency sound. Sound produced in envi-
ronments 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 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 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
performance.
+12
| —12
4K
8K
x
N
9 со © Oo Ww ow
N © с © OO © © OD
1
—
250 500 1K 2K
GRAPHIC EQUALIZER
EQ
The EM-series powered mixers have two 1/4’ phone-
jack speaker outputs which are internally connected in
parallel. This places some restrictions on their use.
* IF YOU CONNECT SPEAKERS TO ONLY ONE OF
THE AVAILABLE SPEAKER OUTPUTS, THE TOTAL.
IMPEDANCE OF THE CONNECTED SPEAKER
SYSTEM MAY BE NO LESS THAN 4 OHMS.
* IF YOU CONNECT SPEAKERS TO BOTH OF THE
AVAILABLE SPEAKER OUTPUTS, THE TOTAL
IMPEDANCE OF THE SPEAKER SYSTEM CON-
NECTED TO EACH OUTPUT MAY BE NO LESS
THAN 8 OHMS (equalling a total of 4 ohms).
* THE MAXIMUM TOTAL IMPEDANCE OF SPEAKERS
CONNECTED TO THE SPEAKER OUTPUT (S)
SHOULD BE 16 OHMS. |
* MAXIMUM SPEAKERS ALLOWABLE:
ONE 4-OHM SPEAKER
TWO 8-OHM SPEAKERS
FOUR 16-OHM SPEAKERS
While a higher total load impedance than the
recommended 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 maximum
output power of EM-series mixers is 100 watts.
With a total load impedance of 4 ohms (one 4-ohm
speaker or two 8-ohm speakers) maximum output
power is 150 watts,
* NEVER CONNECT OR DISCONNECT SPEAKERS
WHILE THE MIXER'S POWER IS TURNED ON!!
CAUTION 1 and 2:8-16Q/SP
EACH SPEAKER IMPEDANCE. . 1 or 2:4-16Q/SP
POWER SPEAKER OUT
2 1
ON = =
6 @
NZZZIAN=>7
OFF SAN
A BASIC SYSTEM
The accompanying illustration shows a simple sound
reinforcement system set up using the EM-1800
(8-channel) Powered Mixer. In the example, micro-
phones are connected to inputs 1 through 6—some
for vocal use and some for pickup of acoustic
instruments. The remaining 2 channels directly accept;
the output from an electric piano (CP60M) and a
synthesizer (DX7II). An external effects device is
Speaker
E
External Effects Device
Synthesizer
Cassette Recorder
connected into the AUX 1 send/return loop, comple-
menting the mixer's internal AUX 2 reverb system.
The LINE OUT jack is connected to a cassette recorder
so that the performance can be recorded directly via
the mixer. Two PA-type speakers (each with an
impedance of 8 ohms or greater) are connected to
the SPEAKER OUT 1 and SPEAKER OUT 2 jacks.
Speaker
SEC OTTO: COVER FOR CALITICA MARK HG
His.
©
Microphone |
Electric Piano
10
11
BLOCK & LEVEL DIAGRAM
GEQ IN LINE OUT POWER AMPIN. 6GEQ OUT
(+4dB) +498) (+4dB) (+4dB)
LJ [) o] .
CLIP
CH FADER . MASTER | cs]
rts esmas [> Fy vp,
EMI400 CHI CHA 072098 hh Ir GRAPHIC |
EMIEOO CHI CH6 À | AUX | EQUALIZER oN SPEAKER
EMIBOOCH Iv» CHB GAIN OUT
(0-~ ~60dB) HEZ (20-6005) | LOW MID HIGH 0 Oy | ov 2
oy A 250 500 IK 2K 4K 8K | |
AUX 2/ REV | |
Mr ma - $
AUXRTN | | AUX SEND | Lo AY [| PHONES
AUXRTN | => A] HE>— o> > V[] AUX SENDI
(-20d8) (+4dB)
AUX RTN 2/REV AUX SEND 2
: | | Do AUX SEND 2
| Vf oda) J
+ao (98)
“зо a. — SPEAKER OUT 1,2
+20 =
но = В | LINE OUT, POWER AMP IN,
GEQ IN GEQ OUT, AUX SEND |,2
PAD ON, GAIN-20 |
о -Е = — = = — q | 7 | |
\ AUX SEND 2
“10 — \ |
_20 JLPAD OFF, GAIN-20 YN AUX RETURN 1,2/ |
PAD OFF, GAIN-60
SPECIFICATIONS
/ GENERAL SPECIFICATIONS /
Maximum Output Power
150W @ 4ohms 0.5% (THD) @ 1 kHz
Maximum Output Level
(LINE OUT)
100W @ 8ohms 0.3% (THD) @ 1 kHz
+20dB Q 10kohms 0.5% 20Hz ~ 20kHz
Total Harmonic Distortion
(Power Amp. Section)
(Mixer Section)
Less than 0.2% 20Hz — 20kHz E 75W/40hms (POWER AMP IN to SPEAKER OUT)
Less than 0.2% 20Hz ~ 20kHz @ + 4dB/10kohms (CH IN to LINE OUT)
Frequency Response
(SPEAKER OUT)
(LINE OUT)
+1, —3dB 20Hz ~ 20kHz @ 1W/80hms
+1, —3dB 20Hz~ 20kHz @ + 4dB/10kohms
Hum & Noise (20Hz ~ 20kHz)
Rs = 1500hms
Input Gain = Max.
Input Pad =0dB
Input sensitivity = — 60dB
— 126dB Equivalent Input Noise
— 64dB residual output noise (SPEAKER OUT)
— 88dB residual output noise (LINE OUT) ;
— 73dB (77dB S/N) LINE OUT Master fader at maximum level and all CH fader at minimum
level.
—62dB {66dB S/N} LINE OUT Master fader and one CH fader at maximum level.
—73dB {77dB S/N) AUX OUT Master fader at maximum and all CH mix level control at
minimum level.
— 62dB {(66dB S/N} AUX OUT Master fader and one CH mix level control at maximum level.
Maximum Voltage Gain
90dB CH IN to SPEAKER OUT
64dB CH IN to LINE OUT |
64dB CH IN to AUX SEND 1, 2 (+4dB)
50dB CH IN to AUX SEND 2 (— 10d8)
24dB AUX RETURN to LINE OUT
26dB POWER AMP IN to SPEAKER OUT
Crosstalk {@ 1 kHz)
GOdB adjacent input channels
60dB input to output
Input channel gain control
40dB (— 60dB — — 20dB) variation in gain stop to stop
Input channel pad switch
0/20dB of attenuation
Input channel equalization
+ 15dB |
maximum boost or cut in each of three bands.
HIGH : 8kHz shelving
MIDDLE : 2kHz peaking
LOW : 100Hz shelving
Master equalization (GEQ)
250Hz, 500Hz, 1kHz, 2kHz, 4kHz, 8kHz +12dB
Level Meter
Hluminated meter (+ 5VU = 150W/4ohms)
Clip indicators
Power Requirements
U.S. & Canadian models
West Germany model
RED LED built into each input channel. In turns on when post-EQ signal is 3dB below clipping.
120V AC, 60Hz
220V AC, 50Hz
Power Consumption
U.S. & Canadian models
West Germany model
EM1400 330W
EM1600 330W
EM1800 330W
EM1400 330W
ЕМ1600 330W
EM1800 330W
Dimensions Height 6-1/8" { 155 mm)
| Depth 20-5/8” { 525 mm)
Width EM1400 14-1/8” ( 360 mm)
EM1600 16-7/8" ( 430 mm)
EM1800 19-5/8” ( 500 mm)
Weight EM1400 28 Ibs. 11 ozs. { 13 kg)
ЕМ1600 33165. 1 ozs. (15 kg)
EM1800 35 ibs. 4 ozs. { 16 kg)
* OdB = 0.775 Vr.m.s.
* Specifications and appearance subject to change without notice.
12
/ INPUT CHARACTERISTICS
- Input Terminals.
PAD Trim]
For Use With
~ Nominal --
po Sensitivity
[| Max. before clip
| CH Inpué 2 a ВЕ
impedance |
4k ohms
50- 600 ohm Mics
&
600 ohm Lines
1 Sen (0.8mVI
— “6008. (0. mv)
—34dB (15.5mV)
— 20dB (77.5mV)
— 20dB (77.5mV)
+ 6dB (1.55V)
; OdB (775mV)
OdB (775mV)
XLR- 3- 31 type
& Phone Jack
(TRS) =
AUX. RETURN. a 2
10k ohms
600 ohm Lines
— 20dB (77.5mV)
— 20dB (77.5mV)
+26dB (15.5V) _
Phone Jack
-GEQ IN
10k ohms
- 600 ohm Lines
+ 4dB (1.23V)
+ 4dB (1.23V)
+ 20dB (7.75V}
Phone Jack
| POWER AMP IN |
10k ohms
6000 ohm Lines
+ 4dB (1.23V)
+ 4dB (1.23V)
+ 4dB (1.23V)
Phone Jack
(1) Sensitivity | is the lowest level that will produce an output of full power or the nominal output level when the unit is set
to maximum gain.
(2) XLR type connectors are balanced, CH Phone Jacks are balanced (T= +, R= ~, S=GND) and another Phone Jacks are
unbalanced.
(3) In these specifications, when dB represents a specific voltage, OdB is referenced to 0.775V RMS.
(4) * CH No EM1400=4CH EM1600=6 CH EM1800=8CH
a " = 1 Outen Termine | 5
“Actual Source -
_ de . Poo
‘Nominal г
SPEAKER: our
0.08 ohms
8 ohm speakers
4 ohm speakers
150 W
150 W
Phone Jack
- LINE OUT
600 ohms
10k ohm lines
+ 4dB (1.23V)
+ 20dB (7.75V)
Phone Jack
“GEO OUT.
600 ohms
10k ohm lines
+ 4dB (1.23V)
+ 20dB (7.75V)
Phone Jack
AUX SEND 1
150 ohms
600 ohm lines
+ 4dB (1.23V)
+ 20dB (7.75V)
Phone Jack
+ ar
150 ohms
600 ohm lines
+ 4dB (1.23V)
+ 20dB (7.75V)
Phone Jack
‘aux. SEND 2
600 ohms
10k ohm lines
— 10dB (245mV)
+ 6dB (1.55V)
Phone Jack
PHONES
q= = 1008.
150 ohms
8 ohm phones
75mW
75mW
Stereo Phone Jack
(1) All Phone Jacks are unbalanced.
(2) In these specifications, when dB represents aspecific voltage, OdB is referenced to 0.775V RMS.
| 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
dealer.
== YAMAHA
HAMAMATSU, JAPAN
8708 [A] Printed in TAIWAN —
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