Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones

Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones
POWERED
POWERED MIXER
MIXER
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
Quick Guide
Pages 7 to 11
Making the Most of Your Mixer
Pages 12 to 18
EN
DE
FR
ES
Explanation of Graphical Symbols
The lightning flash with arrowhead symbol
within an equilateral triangle is intended to alert
the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUT I ON
RISK OF ELECTRIC SHOCK
DO NOT OPEN
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The above warning is located on the rear of the unit.
IMPORTANT SAFETY INSTRUCTIONS
1
2
3
4
5
6
7
8
9
10
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11
12
13
14
Only use attachments/accessories specified by the
manufacturer.
Use only with the cart, stand,
tripod, bracket, or table specified
by the manufacturer, or sold with
the apparatus. When a cart is
used, use caution when moving
the cart/apparatus combination
to avoid injury from tip-over.
Unplug this apparatus during
lightning storms or when unused for long periods of
time.
Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally,
or has been dropped.
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
(98-6500)
IMPORTANT
Please record the serial number of this unit in the space below.
Model:
Serial No.:
The serial number is located on the bottom or rear of the unit.
Retain this Owner’s Manual in a safe place for future reference.
2
EMX5016CF Owner’s Manual
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/Power cord
Water warning
• Only use the voltage specified as correct for the device. The required voltage is
printed on the name plate of the device.
• Use only the included power cord.
• Do not place the power cord near heat sources such as heaters or radiators, and do
not excessively bend or otherwise damage the cord, place heavy objects on it, or
place it in a position where anyone could walk on, trip over, or roll anything over it.
• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
• Do not expose the device to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.
• Never insert or remove an electric plug with wet hands.
If you notice any abnormality
• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the device, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the device inspected by
qualified Yamaha service personnel.
• If this device should be dropped or damaged, immediately turn off the power
switch, disconnect the electric plug from the outlet, and have the device
inspected by qualified Yamaha service personnel.
Do not open
• Do not open the device or attempt to disassemble the internal parts or modify
them in any way. The device contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immediately and have it inspected
by qualified Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the device or other property. These precautions include, but are not limited to, the following:
• Do not block the vents. This device has ventilation holes at the front and rear to
prevent the internal temperature from becoming too high. In particular, do not
place the device on its side or upside down. Inadequate ventilation can result in
overheating, possibly causing damage to the device(s), or even fire.
• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Doing so may result in noise, both in the device
itself and in the TV or radio next to it.
Power supply/Power cord
• Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
• When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
Location
Connections
• Before moving the device, remove all connected cables.
• When setting up the device, make sure that the AC outlet you are using is easily
accessible. If some trouble or malfunction occurs, immediately turn off the
power switch and disconnect the plug from the outlet. Even when the power
switch is turned off, electricity is still flowing to the product at the minimum
level. When you are not using the device for a long time, make sure to unplug
the power cord from the wall AC outlet.
• If this device is to be mounted in an EIA-standard rack, leave the back of the rack
open and make sure that it is at least 10 cm away from walls or surfaces. Also, if
this device is to be mounted with devices that tend to generate heat, such as
power amplifiers, be sure to keep an adequate gap between this device and the
heat-generating devices or install ventilation panels to prevent high
temperatures from developing inside this device.
Inadequate ventilation can result in overheating, possibly causing damage to the
device(s), or even fire.
• Avoid setting all equalizer controls and faders to their maximum. Depending on
the condition of the connected devices, doing so may cause feedback and may
damage the speakers.
• Do not expose the device to excessive dust or vibrations, or extreme cold or heat
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
• Do not place the device in an unstable position where it might accidentally fall over.
• Before connecting the device to other devices, turn off the power for all devices.
Before turning the power on or off for all devices, set all volume levels to
minimum.
• Use only speaker cables for connecting speakers to the speaker jacks. Use of
other types of cables may result in fire.
Handling caution
• When turning on the AC power in your audio system, always turn on the device
or external power amplifiers LAST, to avoid speaker damage. When turning the
power off, the device or external power amplifiers should be turned off FIRST for
the same reason.
• Do not insert your fingers or hands in any gaps or openings on the device
(vents, etc.).
• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device (vents, etc.) If this happens, turn off the power
immediately and unplug the power cord from the AC outlet. Then have the
device inspected by qualified Yamaha service personnel.
• Do not use the speakers or headphones for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If you
experience any hearing loss or ringing in the ears, consult a physician.
• Do not rest your weight on the device or place heavy objects on it, and avoid use
excessive force on the buttons, switches or connectors.
(5)-4
EMX5016CF Owner’s Manual
3
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).
Use only Neutrik plugs (NL4) for connecting Speakon connectors.
Insert TRS phone jacks are wired as follows: sleeve: ground, tip:send, and ring:return.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the device.
Always turn the power off when the device is not in use.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualifi ed Yamaha service
personnel about replacing defective components.
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.
(3 wires)
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 retailer, please contact Yamaha Corporation of America, Electronic Service Division,
6600 Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
(class B)
About this Manual
This manual is divided into two main sections, as follows.
■ Mixer Basics (starts on page 7)
Presents a general explanation of mixers and mixer concepts. Includes a Quick Guide that will help beginners get up to speed very quickly.
■ Reference (starts on page 19)
Provides detailed information about the EMX. Introduces the EMX features, identifies and explains the controls, indicators, and connectors; and explains how to set up the equipment.
*
Within this manual, the term “EMX” refers to model EMX5016CF.
*
Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation.
*
Company names and product names herein are trademarks or registered trademarks of their respective companies.
Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all
copyrights, and consult with a copyright specialist if you are in doubt about permissible use.
Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any
time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
4
EMX5016CF Owner’s Manual
Thank you for your purchase of this Yamaha EMX5016CF powered mixer. Please read through this
manual carefully before beginning use, so that you will be able to take full advantage of your mixer’s
superlative features and enjoy trouble-free operation for years to come. After reading the manual,
please store it in a safe place.
Contents
Features ............................................................................................................................................... 6
Before Turning On the Mixer................................................................................................................ 6
■ Mixer Basics
Quick Guide ......................................................................................................7
Getting Sound to the Speakers ............................................................................................................ 7
Adding Some Reverb ......................................................................................................................... 10
Using the Compressors to Enhance Vocals ...................................................................................... 11
Making the Most of Your Mixer ....................................................................12
A Place for Everything and Everything in its Place ............................................................................ 12
A Plethora of Connectors—What Goes Where?........................................................................ 12
Balanced, Unbalanced—What’s the Difference? ............................................................................... 13
How Do Balanced Lines Reject Noise? ............................................................................................. 13
A balanced cable has three conductors: ............................................................................................ 14
Signal Levels and the Decibel............................................................................................................ 14
Making Better Mixes........................................................................................................................... 15
Approaching the Mix—Where Do You Start?............................................................................. 15
To EQ or Not to EQ.................................................................................................................... 16
Ambience ................................................................................................................................... 17
The Modulation Effects: Phasing, Chorus, and Flanging ........................................................... 17
Compression .............................................................................................................................. 18
■ Reference
Front & Rear Panels.......................................................................................19
Controls on Each Channel ................................................................................................................. 19
Digital Effects Section ........................................................................................................................ 22
Master Section ................................................................................................................................... 23
Rear Panel ......................................................................................................................................... 28
Speaker Connections ....................................................................................29
2-channel connection ................................................................................................................. 29
2-channel parallel connection .................................................................................................... 29
Setting the GEQ with the FRC function .......................................................30
Rack Mounting ...............................................................................................32
Setup ...............................................................................................................33
Troubleshooting.............................................................................................34
Specifications.................................................................................................35
EMX5016CF Owner’s Manual
5
Features
Input Channels ................................................................................................ page 19
The EMX offers 12 monaural mic/line input channels (1 to 15/16) and four stereo input
channel pairs (9/10 to 15/16), allowing you to freely mix inputs from microphones, linelevel devices, and stereo devices. For example, you can mix eight microphones with
four stereo devices, or ten microphones with two stereo synthesizers.
High-Quality Digital Effects............................................................................ page 22
The mixer’s internal effector (two blocks) is in the same league as our SPX effector
series, allowing you to create a rich range of variations with no external help. But of
course you are also free to use the SEND EFF jacks to connect to an external effector
of your choice.
Compressors ................................................................................................... page 18
Individual compressors are provided on channels 1 to 8. These let you compress the
dynamic range of input signals such as vocals, guitars and bass, allowing you to bring
down high signal peaks and boost lower level sounds. This feature helps reduce distortion and allows overall volume to be set higher, resulting in a stronger and more
punchy sound. Moreover, a 3-band compressor is available for applying to the stereobus signal output, which enhances the overall output volume (MAXIMIZE function).
Internal Power Amp ........................................................................................ page 25
The internal amp makes it possible to connect the SPEAKERS jacks directly to nonpowered speakers, with no need for an external amplifier in between. The rear panel
offers two types of speaker connectors: phone jacks and Neutrik Speakon jacks.
Graphic Equalizer and FRC............................................................................ page 30
This 9-band graphic equalizer adjusts the frequency characteristics of the Stereo-bus
signal output. A convenient FRC function (Frequency Response Correction System)
allows you to measure the frequency characteristics of the sound field, and automatically adjust the graphic equalizer settings according to the measurement results to
compensate for any sound field anomalies.
Feedback Suppressor..................................................................................... page 25
This function automatically checks for and removes feedback.
Before Turning On the Mixer
■ Connecting to Power
1
Be sure that the POWER switch is in the OFF position.
2
Connect the included power cord to the AC IN connector on the rear panel.
3
Plug the power cord into a standard power outlet.
■ Turning the Unit On and Off
NOTE
• To prevent an unpleasant burst of noise from the speakers, you should power up the sound sources first, and then the other devices in order of their
distance from the source (starting with the closest).
For example: Sound source (external device) → EMX unit → Amps (Powered speakers)
When turning power off, proceed in the opposite order.
• Before turning power on, make sure that the channel faders, ST master fader, AUX1/2 faders, ST SUB OUT control are all the way down.
• Rapidly turning the unit ON and OFF in succession can cause it to malfunction. After turning the unit OFF, wait for about 10 seconds before turning it
ON again.
Push the POWER switch in to turn the power ON.
The model name “EMX5016CF” is shown in the GEQ display. To turn the power off, push the POWER switch again,
so that the indication goes off.
6
EMX5016CF Owner’s Manual
Mixer Basics
Quick Guide
Mixer Basics
Getting Sound to the Speakers
We begin by connecting up two speakers and generating some stereo output. Note that operations and procedures will vary somewhat according to the input devices you are using.
Input jacks
SPEAKERS jacks
1
Connect up the speakers and your input devices
(microphones, instruments, etc.).
RIGHT
Use non-powered speakers and dedicated speaker cable. Connect
one speaker to SPEAKERS jack A (A1 or A2), and the other to jack B
(B1 or B2). Then connect your input devices (microphones, guitar,
etc.) to the appropriate input jacks on the top panel. For details, see
page 33.
CAUTION
• Before connecting input devices to the EMX, be sure that all of these
devices (including microphones) are powered off. And before turning
the power to any device on or off, be sure to turn the volume of that
device all the way down.
• Never connect both A and B jacks to a single speaker. Connection of
both jacks to the same speaker may result in damage to the mixer.
NOTE
WRONG!!
We recommend that you avoid connecting electric instruments (such as electric guitars and basses) directly to the EMX. Instead, these instruments
should be connected through an intermediary device such as a direct box, a
preamp (guitar amp), or an amp simulator.
EMX5016CF Owner’s Manual
7
Mixer Basics
Quick Guide
[26dB] switches
GAIN controls
POWER AMP switch
PHANTOM switch
ON switches
PEAK indicators
ST Master fader
Channel faders
2
3
Turn the Channel faders and the ST Master fader all
the way down.
Set the POWER AMP switch to its upper position (to
L-R).
For information about this switch, see page 25.
4
5
If you have connected input devices to channels 1
to 8, set the [26dB] switch ON (
) or OFF (
) on
each channel accordingly.
If you have connected a line-level device, such as a keyboard or
audio device, set the channel’s switch to the ON (
). If you have
connected a microphone or other mic-level device, set the switch to
the OFF (
).
If you are using one or more condenser microphones for your inputs, set the PHANTOM switch to
the ON position (
).
CAUTION
• Be sure to leave this switch off if you do not need phantom power.
• When using phantom power, do not connect any devices other than
condenser microphones to the XLR input jacks. Other devices may be
damaged if connected to phantom power. This precaution does not
apply to balanced dynamic microphones, however, as these will not be
affected by phantom power.
• To protect your speakers and ears: Before turning the PHANTOM
switch ON or OFF, be sure to turn off the power to the mixer and to all
other devices having internal amplifiers. We also recommend that you
turn all output controls (Channel faders, ST Master fader, etc.) to minimum settings before operating the switch, to avoid risk of loud noises
that could cause hearing loss or device damage.
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EMX5016CF Owner’s Manual
POWER switch
Mixer Basics
Quick Guide
6
Turn on the power.
First turn on the power to all connected devices other than powered
speakers and amp, and then turn on the EMX itself. If using powered
speakers or amps, turn these on last.
NOTE
To prevent an unpleasant burst of noise from the speakers, you should power
up the sound sources first, and then the other devices in order of their distance from the source (starting with the closest).
For example: Sound source (external device) → EMX unit → Amps (Powered speakers)
7
Adjust the GAIN control for each channel you are
using so that the PEAK indicator comes on only at
about maximum input level.
NOTE
8
9
10
To use the LEVEL meter to get an accurate reading of the incoming signal
level: Set the ST/AFL-PFL switch to AFL-PFL(
) and turn on the PFL
switch for each channel you are using. Adjust the GAIN controls so that
LEVEL meter indication occasionally rises above the “ ” (0) level. Note that
the PHONES jack outputs the pre-faded signal from all channels whose PFL
switch is ON, so that you can monitor these signals through the headphones.
Turn the ON switch on.
Set the ST Master fader to the “0” position.
Adjust the channel faders on all occupied channels.
Adjust the faders while listening to the output from the speakers.
NOTE
• To use the LEVEL meter to view the level being input to the internal amp:
Set the ST/AFL-PFL switch to ST(
).
• Use the LIMITER lamps to check for clipping of the signal from the SPEAKERS jacks. Note that the LIMITER lamps will come on earlier than the level
meter's PEAK indicators come on.
11
Adjust the overall volume of the ST Master fader.
CAUTION
It is acceptable for the LIMITER lamps to flash on briefly at times, but if
they remain lit continuously then there is risk of damage to your speakers
or to the internal amp. Reduce the ST master fader setting so that these
lamps do not stay on.
EMX5016CF Owner’s Manual
9
Mixer Basics
Quick Guide
Adding Some Reverb
You can use the reverb effect to simulate the sound of a concert hall or jazz club.
PROGRAM dial
EFF1 knobs
EFF1 ON switch
EFF1 RTN fader
1
Turn the EFFECT1 PROGRAM dial to select the desired effect type.
To select a reverb effect, turn the dial to any value from 1 to 5.
1
2
3
4
2
HALL 1
ROOM 1
PLATE 1
LARGE STAGE 1
5
6
7
8
SMALL STAGE 1
VOCAL ECHO
KARAOKE
DELAY
9
0
A
B
To turn on the effector, set the EFF1 ON switch
to its ON position (
).
The switch lights up when turned on. As an alternative to the ON
switch, you can use a separately sold FC5 foot switch to toggle the
effector on and off.
3
4
5
Set the EFF1 RTN fader to the “0” position.
Use the channel EFF1 knobs to adjust the effect
depth for each channel.
Use the EFF1 RTN fader to adjust the overall
effect depth.
Note that you can use the PARAMETER knob to adjust the characteristic sound of the selected effect. If you have selected a reverb
effect, the knob adjusts the reverb time.
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EMX5016CF Owner’s Manual
CHORUS
EARLY REF.
GATE REVERB
REVERSE GATE
C
D
E
F
TREMOLO
SINGLE DELAY
DYNA FILTER
PITCH CHANGE
Mixer Basics
Quick Guide
Using the Compressors to Enhance Vocals
The compressor evens out the input level, reducing the level of loud passages and bringing up
softer passages. The result is a cleaner sound where nuances remain audible and the lyrics are
easier to hear.
COMP knobs
1
Adjust the COMP knobs on the relevant channels.
Turn the knob clockwise to increase the compression. Avoid setting the value too high, as too much compression may result in howling. For more information about the compressors, see page 18.
EMX5016CF Owner’s Manual
11
Mixer Basics
Making the Most of Your Mixer
An Introduction
You’ve got yourself a mixer and now you’re ready to use it.
Just plug everything in, twiddle the controls, and away you go … right?
Well, if you’ve done this before you won’t have any problems, but if this is the first time
you’ve ever used a mixer you might want to read through this little tutorial and pick up a
few basics that will help you get better performance and make better mixes.
A Place for Everything and Everything in its Place
A Plethora of Connectors—What Goes Where?
Questions you’re likely to encounter when setting up a system for the first time might include “Why all these
different types of connectors on the back of my mixer?” and “What’s the difference?”.
Let’s start by taking a look at the most common connector types.
The Venerable RCA Pin Jack
This is the “consumer connector,” and the one that has been most
commonly used on home audio gear for many years. Also known as
“phono” jacks (short for “phonogram”), but the term isn’t used much
these days—besides, it’s too easily confusable with “phone” jacks,
below. RCA pin jacks are always unbalanced, and generally carry a linelevel signal at –10 dB, nominal. You’re most likely to use this type of
connector when connecting a CD player or other home audio type
source to your mixer, or when connecting the output of your mixer to a
cassette recorder or similar gear.
Sleeve
Ring
The Versatile Phone Jack
The name “phone jack” arose simply because this configuration was first
used in telephone switchboards. Phone jacks can be tricky because you
can’t always tell what type of signal they’re designed to handle just by
looking at them. It could be unbalanced mono, unbalanced stereo,
balanced mono, or an insert patch point. The connector’s label will
usually tell you what type of signal it handles, as will the owner’s manual
(you do keep your manuals in a safe place, don’t you?). A phone jack
that is set up to handle balanced signals is also often referred to as a
“TRS” phone jack. “TRS” stands for Tip-Ring-Sleeve, which describes
the configuration of the phone plug used.
Tip
Stereo/TRS phone plug
Mono phone plug
The Sturdy XLR
This type of connector is generally referred to as “XLR-type,” and almost
always carries a balanced signal. If the corresponding circuitry is
designed properly, however, XLR-type connectors will also handle
unbalanced signals with no problem. Microphone cables usually have
this type of connector, as do the inputs and outputs of most professional
audio gear.
12
EMX5016CF Owner’s Manual
Male
Female
Mixer Basics
Making the Most of Your Mixer
Balanced, Unbalanced—What’s the Difference?
In a word: “noise.” The whole point of balanced lines is noise
rejection, and it’s something they’re very good at. Any length of wire
will act as an antenna to pick up the random electromagnetic
radiation we’re constantly surrounded by: radio and TV signals as
well as spurious electromagnetic noise generated by power lines,
motors, electric appliances, computer monitors, and a variety of other
sources. The longer the wire, the more noise it is likely to pick up.
That’s why balanced lines are the best choice for long cable runs. If
your “studio” is basically confined to your desktop and all connections
are no more than a meter or two in length, then unbalanced lines are
fine—unless you’re surrounded by extremely high levels of
electromagnetic noise. Another place balanced lines are almost
always used is in microphone cables. The reason for this is that the
output signal from most microphones is very small, so even a tiny
amount of noise will be relatively large, and will be amplified to an
alarming degree in the mixer’s high-gain head amplifier.
To summarize
Microphones:
Use balanced lines.
Short line-level
runs:
Unbalanced lines
are fine if you’re in a
relatively noise-free
environment.
Long line-level
runs:
The ambient
electromagnetic
noise level will be
the ultimate
deciding factor, but
balanced is best.
How Do Balanced Lines Reject Noise?
** Skip this section if technical details make you queasy. **
Balanced lines work on the principle of “phase cancellation”: if you add two identical signals out of phase (i.e.
one signal is inverted so its peaks coincide with the troughs in the other signal), the result is … nothing. A flat
line. The signals cancel each other out.
While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line
will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is
reversed at the receiving end of the line so that the desired audio signals become in-phase, and the induced
noise suddenly finds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio
signal is left intact. Clever, eh?
Balanced noise cancellation
Noise
Hot (+)
Cold (–)
Phase
inversion
Phase
inversion
Noise cancelled
Ground
Source
Noise-free
signal
Receiving device
Cable
Unbalanced noise
Noise
Source
Cable
Receiving device
EMX5016CF Owner’s Manual
13
Mixer Basics
Making the Most of Your Mixer
A balanced cable has three conductors:
1) A ground conductor which carries no signal, just the “ground” or “0”
reference against which the signal in the other conductors fluctuates.
2) A “hot” or “+” conductor which carries the normal-phase audio signal.
3) A “cold” or “–” conductor which carries the reverse-phase audio signal.
Balanced
Unbalanced
Hot
Cold
Shield
(Ground)
Outer
Insulation
Signal Levels and the Decibel
Let’s take a look at one of the most commonly used units in audio: the decibel (dB). If the smallest sound that
can be heard by the human ear is given an arbitrary value of 1, then the loudest sound that can be heard is
approximately 1,000,000 (one million) times louder. That’s too many digits to deal with for practical calculations,
and so the more appropriate “decibel” (dB) unit was created for sound-related measurements. In this system
the difference between the softest and loudest sounds that can be heard is 120 dB. This is a non-linear scale,
and a difference of 3 dB actually results in a doubling or halving of the loudness.
You might encounter a number of different varieties of the dB: dBu, dBV, dBM and others, but the dBu is the
basic decibel unit. In the case of dBu, “0 dBu” is specified as a signal level of 0.775 volts. For example, if a
microphone’s output level is –40 dBu (0.00775 V), then to raise that level to 0 dBu (0.775 V) in the mixer’s
preamp stage requires that the signal be amplified by 100 times.
A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output
levels as closely as possible. In most cases the “nominal” level for a mixer’s input and outputs is marked on the
panel or listed in the owner’s manual.
+ 20 dBu
0 dBu
Most professional mixers, power amplifiers, and other
types of equipment have inputs and outputs with a
nominal level of +4 dBu.
0.775 V
The inputs and outputs on home-use audio gear
usually have a nominal level of –10 dBu.
-20 dBu
-40 dBu
-60 dBu
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EMX5016CF Owner’s Manual
Microphone signal levels vary over a wide range
depending on the type of microphone and the source.
Average speech is about –30 dBu, but the twittering of
a bird might be lower than –50 dBu while a solid bass
drum beat might produce a level as high as 0 dBu.
Mixer Basics
Making the Most of Your Mixer
Making Better Mixes
Approaching the Mix—Where Do You Start?
Mixing is easy, right? Just move the faders around until it sounds right? Well, you can do it that way, but a more
systematic approach that is suited to the material you’re mixing will produce much better results, and faster.
There are no rules, and you’ll probably end up developing a system that works best for you. But the key is to
develop a system rather than working haphazardly. Here are a few ideas to get you started:
Faders Down
It might sound overly simple, but it is usually a good idea to start with all channel faders off—all the way down.
It’s also possible to start with all faders at their nominal settings, but it’s too easy to lose perspective with this
approach. Start with all faders down, then bring them up one by one to fill out the mix. But which channel
should you start with?
Example1: Vocal Ballad Backed by Piano Trio
What are you mixing? Is it a song in which the vocals are the most
important element?
If so you might want to build the mix around the vocals. This means
bringing the vocal channel up to nominal first (if your level setup
procedure has been done properly this will be a good starting point),
and then adding the other instruments.
What you add next will depend on the type of material you are
working with and your approach to it. If the vocals are backed by a
piano trio and the song is a ballad, for example, you might want to
bring in the piano next and get the vocal/piano relationship just right,
then bring in the bass and drums to support the overall sound.
Example2: Funky R&B Groove
The approach will be totally different if you’re mixing a funky R&B
number that centers on the groove. In this case most engineers will
start with the drums, and then add the bass. The relationship between
the drums and bass is extremely important to achieve the “drive” or
groove the music rides on. Pay particular attention to how the bass
works with the kick (bass drum).
They should almost sound like a single instrument—with the kick
supplying the punch and the bass supplying the pitch. Once again,
there are no rules, but these are concepts that have been proven to
work well.
EMX5016CF Owner’s Manual
15
Mixer Basics
Making the Most of Your Mixer
To EQ or Not to EQ
In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but
use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a
mix and give the overall sound better definition. Bad EQ—and most commonly bad boost—just sounds terrible.
Cut for a Cleaner Mix
The fundamental
and harmonic
frequency ranges of some
For example: cymbals have a lot of energy in
musical instruments.
Cymbal
the mid and low frequency ranges that you
Piano
don’t really perceive as musical sound, but
which can interfere with the clarity of other
Bass Drum
instruments in these ranges. You can basically
Snare Drum
turn the low EQ on cymbal channels all the
Bass
way down without changing the way they
sound in the mix. You’ll hear the difference,
Guitar
however, in the way the mix sounds more
Trombone
“spacious,” and instruments in the lower
Trumpet
ranges will have better definition. Surprisingly
enough, piano also has an incredibly powerful
20 50 100 200
500
1k 2k 5k
10 k
20 k (Hz)
low end that can benefit from a bit of lowfrequency roll-off to let other instruments—
Fundamental: The frequency that determines the basic musical pitch.
notably drums and bass—do their jobs more
Harmonics: Multiples of the fundamental frequency that play a role
in determining the timbre of the instrument.
effectively. Naturally you won’t want to do this if
the piano is playing solo.
The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in
the mix without compromising the character of the instruments. You’ll have to use your ears, though, because
each instrument is different and sometimes you’ll want the “snap” of a bass guitar, for example, to come
through.
Some Frequency Facts
The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz
and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The
frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the “A3”
key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e.
“A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.
Boost with Caution
16
EMX5016CF Owner’s Manual
MID Boost
Signal
Level (dB)
If you’re trying to create special or unusual
effects, go ahead and boost away as much as
you like. But if you’re just trying to achieve a
good-sounding mix, boost only in very small
increments. A tiny boost in the midrange can
give vocals more presence, or a touch of high
boost can give certain instruments more “air.”
Listen, and if things don’t sound clear and
clean try using cut to remove frequencies that
are cluttering up the mix rather than trying to
boost the mix into clarity.
One of the biggest problems with too much
boost is that it adds gain to the signal,
increasing noise and potentially overloading
the subsequent circuitry.
MID Flat
LOW Boost
HIGH Boost
LOW Flat
HIGH Flat
LOW Cut
HIGH Cut
MID Cut
Frequency (Hz)
Mixer Basics
Making the Most of Your Mixer
Ambience
Reverb Level
Your mixes can be further refined by adding
ambience effects such as reverb or delay. On the
EMX mixers these effects are built in. The internal
DSP (Digital Signal Processor) can be used to add
reverb or delay to individual channels in the same
way as external effects processors, with the extra
connections required by, or the loss in sound quality
often caused by external processing. (Refer to
page 22).
It’s amazing how quickly your ears can lose
perspective and fool you into believing that a totally
washed-out mix sounds perfectly fine. To avoid
falling into this trap start with reverb level all the way
down, then gradually bring the reverb into the mix
until you can just hear the difference. Any more than
this normally becomes a “special effect.” You don’t
want reverb to dominate the mix unless you are
trying to create the effect of a band in a cave—which
is a perfectly legitimate creative goal if that’s the sort
of thing you’re aiming for.
You need to be careful not to overdo effects,
however, because going to far can undermine the
clarity and quality of your mix. Use your ambience
effects just enough to create the required feeling of
depth, but no more than is necessary to keep your
sound clean.
Reverb and Delay Time
A variety of reverb and delay effect programs are
provided, and nearly all of then have a reverb/delay
time parameter than can be adjusted via the panel
PARAMETER control.
Small adjustments to the reverb/delay time can
actually have a significant effect on the sound. The
optimum reverb time for a piece of music will depend
on the music’s demo and density, but as a general
rule longer reverb times are good for ballads, while
shorter reverb times are more suited to up-tempo
tunes. Delay times can be adjusted to create a wide
variety of “grooves”, and you need to select the time
that best suits the music. When adding delay to a
vocal, for example, try setting the delay time to
dotted eighth notes corresponding to the tune’s
tempo.
Reverb Tone
Different reverb programs will have different “reverb
tone” due to differences in the reverb time of the high
or low frequencies, or differences in the overall
frequency response of the reverb sound. Always be
careful not apply too much reverb, particularly in the
high frequencies. In addition to resulting in unnatural
sound, excessive high-frequency reverb can interfere
with the high frequencies in other parts of the mix. If
you can hear more reverb than direct sound in the
upper frequency range, try selecting a different effect
program. It’s always a good idea to choose a reverb
program that gives you the depth you want without
detracting from the clarity of the mix.
The Modulation Effects: Phasing,
Chorus, and Flanging
All of these effects work on basically the same
principle: a portion of the audio signal is “timeshifted” and then mixed back with the direct signal.
The amount of time shift is controlled, or
“modulated”, by an LFO (Low-frequency Oscillator).
When we say “time shift,” however, we’re not talking
in terms of minutes or even seconds.
For phasing effects the shift is very small indeed – a
difference measured in degrees of phase shift rather
than time units. The phase difference between the
modulated and direct signals causes cancellation at
some frequencies and reinforces the signal at others
– a “comb filter” effect – and this causes the
shimmering sound we hear. Phasing is the subtlest
of all these effects, producing a gentle shimmer that
can add life to a wide range of sources without being
too obtrusive.
For chorus and flanging the signal is actually delayed
by several milliseconds (a millisecond is a
thousandth of a second), with the delay time
modulated by an LFO, and recombined with the
direct signal. In addition to the comb-filter effect
described above, the delay modulation in these
effects causes a perceived pitch shift which, when
mixed with the direct signal, results in a harmonically
rich swirling or swishing sound. The difference
between chorus and flanging effects is primarily in
the amount of delay time and feedback used –
flanging uses longer delay times than chorus,
whereas chorus generally uses a more complex
delay structure. Chorus is most often used to thicken
the sound of an instrument, while flanging is usually
used as an outright “special effect” to produce otherworldly sonic swoops.
EMX5016CF Owner’s Manual
17
Mixer Basics
Making the Most of Your Mixer
Compression
Have you ever wondered why professionally produced recordings sound so different from your own? There are
numerous reasons, of course, but one important factor is the judicious use of compression.
One form of compression known as “limiting” can,
when properly used, produce a smooth, unified
sound with no excessive peaks or distortion.
Compression can also be used within a mix to
make a voice or instrument seem to come
forward, or simply to even out level differences.
Compression can be used to make a mix seem
bigger and louder by producing a more “saturated”
sound. Professional compressors have numerous
parameters that need to be carefully adjusted:
attack, release, threshold, level, and sometimes
more. A professional sound engineer might need
to spend a considerable amount of time, based on
a considerable amount of experience, to set each
of these parameters to achieve the desired sound.
OUTPUT
(Min)
(Max)
INPUT
The EMX compressor makes achieving great
sound much easier. All you need to do is set a
single “compression” control and all of the pertinent
parameters are automatically adjusted for you.
The engineers who designed this fine compressor paid careful attention to achieving the best sound quality
possible so that you can quickly achieve pro-quality compression without having to worry about a confusing
multitude of settings.
A common example of the use of compression is to “tame” a vocal that has a wide dynamic range in order to
tighten up the mix. With the right amount of compression you’ll be able to clearly hear whispered passages
while passionate shouts are still well balanced in the mix. Compression can also be valuable on bass guitar,
producing a smooth bass sound that stays solid through the tune. Compression can also be applied to guitar
tracks to add extra sustain. Too much compression can be a cause of feedback, however, so use it sparingly.
Music First—Then Mix
In any case, the music comes first. Think about the music and let it guide the mix, rather than trying to do things
the other way around. What is the music saying and what instrument or technique is being used to drive the
message? That’s where the focus of your mix should be. You’re using a high-tech tool to do the mixing, but the
mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music.
18
EMX5016CF Owner’s Manual
Reference
Reference
Front & Rear Panels
Controls on Each Channel
Channels
1 to 8
(Monaural)
Channels
9/10 to 15/16
(Stereo)
1
1 INPUT A and INPUT B Jacks (Channels 1
to 8)
You can connect an input source to either jack. Be sure
to set the [26 dB] switch 4 to match the type of device
you are connecting.
INPUT A: A balanced XLR-type microphone input
jack (1:Ground; 2:Hot; 3:Cold).
If you are connecting a condenser microphone, be sure to turn the PHANTOM
switch c to its ON position.
Cold (–)
2
Ground
Hot (+)
INPUT B: A TRS phone-type balanced line input
jack (T: hot, R: cold, S: ground). Accepts
both balanced and unbalanced line input.
R: Cold (–)
S: Ground
CAUTION
NOTE
T: Hot (+)
When using phantom power, do not connect any
devices other than condenser microphones to the
XLR input jacks. Other devices may be damaged if
connected to phantom power. This precaution does
not apply to balanced dynamic microphones, however, as these will not be affected by phantom power.
On any given channel, you may use either INPUT A
or INPUT B, but not both. Please connect to only
either of these jacks on each channel.
2 LINE/MIC Jacks (Channels 9/10 to 15/16)
These jacks accept stereo inputs and mic inputs. Use
these to connect up stereo output devices, such as stereo synthesizers and CD players, and microphones.
LINE jacks: Unbalanced stereo inputs. Each channel
pair have phone jacks and RCA pin
jacks.
MIC jack:
XLR balanced mic-level input jack. If
you are connecting a condenser microphone, be sure to turn the PHANTOM
switch c to its ON position.
CAUTION
NOTE
When using phantom power, do not connect any
devices other than condenser microphones to the
XLR input jacks. Other devices may be damaged if
connected to phantom power. This precaution does
not apply to balanced dynamic microphones, however, as these will not be affected by phantom power.
If you wish, you may use the channel pair’s LINE and
MIC jacks together at the same time. But note that the
levels cannot be adjusted independently.
EMX5016CF Owner’s Manual
19
Reference
Front & Rear Panels
3 INSERT I/O Jack (Channels 1 to 8)
Channels
1 to 8
(Monaural)
Each of these jacks is positioned between the equalizer
and fader of the corresponding input channel (1 to 8).
You can use these jacks to connect channels to devices
such as graphic equalizers, compressors, and noise filters. These are TRS (tip, ring, sleeve) phone jacks that
support bidirectional operation.
Channels
9/10 to 15/16
(Stereo)
NOTE
3
Connection to an INSERT I/O jack requires a special
separately-sold insertion cable—such as the Yamaha
YIC025, YIC050, or YIC070—as shown below.
To the input jack of the
external processor
4
Tip:OUT
To the INSERT I/O jack
5
5
6
7
6
Sleeve
Sleeve(Ground)
(Ground)
Ring :IN
Tip:OUT
Tip:IN
To the output jack of the
external processor
4 [26 dB] Switch (Channels 1 to 8)
8
Pressing this button turns on the attenuator for each
channel, attenuating the input signal level by 26 dB.
If you have connected a line-level device, such as a
keyboard or audio device, set the channel’s switch to
ON (
). If you have connected a microphone or
other mic-level device, set the switch to OFF (
).
8
5 GAIN Control
20
9
9
0
0
A
A
B
B
C
D
E
F
C
D
E
F
G
G
EMX5016CF Owner’s Manual
Adjusts the gain applied to the input signal level. To
get the best balance between the S/N ratio and the
dynamic range, adjust the gain so that the PEAK indicator D comes on only at about maximum input level.
The –60 to –16 scale indicates the MIC input adjustment level. The –34 to 10 scale indicates the LINE
input adjustment level.
6
(High Pass Filter) Switch
Switches the high pass filter on/off. To turn the HPF
on, press this switch in. The HPF cuts frequencies
below 80 Hz. (But note that regardless of the switch
setting, the mixer does not apply this HPF to the line
inputs of stereo input channels.)
7 COMP knob (Channels 1 to 8)
This knob adjusts the level of compression applied to
the channel. As the knob is turned to the right, the
mixer automatically raises the compression ratio while
adjusting the output gain accordingly. The result is a
narrower, more even dynamic range, as louder signals
are softened while the overall level is boosted. Avoid
setting the knob too high, however, as excess compression may lead to howling.
Reference
Front & Rear Panels
8 Equalizer (HIGH, MID, and LOW)
B PAN Control (Channels 1 to 8); BAL Con-
This three-band equalizer adjusts the channel’s high,
mid, and low frequency bands. Setting the knob to the
“ ” position produces a flat frequency response for the
corresponding frequency band. Turning the knob to the
right boosts the corresponding frequency band, while
turning to the left attenuates the band.
On channels 1 to 8, the MID range is controlled by two
knobs. The upper knob sets the center frequency for
the mid range, while the lower knob sets the attenuation (counterclockwise) or boost (clockwise) for the
range. (Again, setting the lower knob to “ ” produces
a flat response.) On stereo channel pairs 9/10 to 15/16
the mid-range frequency is fixed at 2.5kHz, so only
one MID knob is provided.
The following table shows the equalization type, the
base frequency, and the maximum cut/boost for each
of the three bands.
Band
Type
Base Frequency
HIGH
Shelving
10 kHz
MID
Peaking
250 Hz to 5 kHz variable
(CHs 1 to 8)
2.5 kHz (CHs 9/10 to 15/16)
LOW
Shelving
100 Hz
Maximum
Cut/Boost
C ON Switch
Switches the channel on or off. (The indicator lights up
if the channel is on.) Be sure to turn on all the channels
that you wish to use. If you switch the channel off, you
cut off all of its signal feed into the Stereo, AUX, and
EFFECT buses.
NOTE
To reduce noise, turn off all unused channels.
D PEAK Indicator
Detects the peak level of the post-equalizer signal, and
lights up red when the level reaches 3 dB below the
clipping level.
E SIGNAL Indicator
±15 dB
9 AUX1/2 Knobs (PRE/POST)
Each knob adjusts the channel's signal level into the
AUX1/2 bus. The knob should generally be set close to
the “ ” position. Note that you can use the PRE
switch 0 to choose whether the pre-fader or
post-fader signal is fed into the AUX1/2 buses. On stereo channels, the L (odd) and R (even) input signals
are mixed before being sent to the AUX1/2 buses.
NOTE
trol (Channels 9/10 to 15/16)
The PAN control determines the positioning of the
channel’s signal on the Stereo L and R buses.
The BAL control sets the balance between left and
right channels. Signals into the L input (odd channel)
feed to the Stereo L bus; signals into the R input (even
channel) feed to the Stereo R bus.
Lights up when a signal is being input into the channel.
F PFL (Pre-Fader Listen) Switch
Set this switch on to feed the channel’s pre-fader signal
into the PFL bus, so that it can be monitored at the
PHONES jack. To set the switch on, press it in so that
it lights up.
NOTE
• The PFL (F, M, i) and AFL j switches select
the mix to be monitored at the PHONES jack. If
the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the
PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack.
If the PRE switch is on, the channel's fader will not
have any effect on the signal sent to the AUX1/2
buses.
0 PRE Switch
Selects whether the pre-fader or the post-fader signal is
fed to the AUX1/2 buses. If the switch is on, the mixer
feeds the pre-fader signal to the buses. If off, the mixer
feeds the post-fader signal.
G Channel Fader
Adjusts the signal’s output level. Use these faders to
adjust the volume balance among the various channels.
NOTE
A EFF1/2 Knobs
• PFL switching and output are not affected by the
ON switch. You can monitor the channel’s
pre-fader signal through the PHONES jack even
when the ON switch is set off.
To reduce noise, set the fader sliders for unused channels all the way down.
Each knob adjust the level of the signal sent from the
channel to the EFFECT1/2 bus. If input is from a stereo channel pair (9/10 to 15/16), the signals from the L
and R channels are mixed before moving into the
buses. The EFFECT1/2 bus signal is fed both to the
internal digital effector and to the SEND EFF1/2 jack
H.
NOTE
The level into the EFFECT1/2 buses is affected by
the setting of the channel’s fader G.
EMX5016CF Owner’s Manual
21
Reference
Front & Rear Panels
H SEND Jacks
Digital Effects Section
• EFF1, EFF2
These unbalanced phone output jacks output the signal
from the EFFECT1/2 buses. You use these jacks, for
example, to connect to an external effector. You can
then return the signal by connecting the external effector to any of the LINE jacks on channel pairs 9/10 to
15/16.
H
CAUTION
If you are returning a signal from an external effector
into a LINE jack on any channel pair 9/10 to 15/16,
please be sure to turn the EFF1/2 knob for that channel pair to “0”.
• AUX1, AUX2
These unbalanced phone jacks output monaural monitor
signals from the AUX1 and AUX2 buses, respectively.
You use these jacks, for example, to connect to an effector or to a cue box or other such monitoring system.
I PROGRAM Dials
These let you select the type of effect from 16 different
types for EFFECT 1 and EFFECT 2. For details on
each of the effect types, refer to page 37.
J PARAMETER Knobs
Each knob adjust the parameter (depth, speed, etc.)
associated with the selected effect type.
NOTE
I
I
J
K AUX1/2 Knobs
J
K
K
L
M
L
M
Each knob adjusts the level of the effected sound into
the corresponding AUX1 and AUX2 buses.
L EFF1/2 ON Switches/Indicators
Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on. To
set the switch on, press it in so that it lights up.
As an alternative to the ON switch, you can use a separately sold FC5 foot switch to toggle the effector on
and off.
NOTE
N
The mixer saves the last value used with each effect
type. When you change to a different effect type, the
mixer automatically restores the value that was previously used with that type (regardless of the current
position of the PARAMETER knob).
N
The On/Off status of the internal effects will be
retained, even when you turn off the mixer's power.
M PFL (Pre-Fader Listen) Switches
Set this switch on to feed the signal from the internal
digital effect signal (pre the EFF1/2 RTN faders) into
the PFL bus, so that it can be monitored at the
PHONES jack.
NOTE
• The signal will not feed into the PFL bus if the
effect’s ON switch is turned off.
• The PFL (F, M, i) and AFL j switches select
the mix to be monitored at the PHONES jack. If
the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the
PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack.
N EFF1/2 RTN Faders
Adjusts the level of the effected sound into the Stereo
bus.
22
EMX5016CF Owner’s Manual
Reference
Front & Rear Panels
O ST SUB OUT Jacks
Master Section
O
Q
T
P
P REC OUT Jacks
R
S
W
U
V
These unbalanced phone jacks output the mixed stereo
signal (L and R), where the level is adjusted by the ST
SUB OUT control g. You would typically use these
jacks to connect to an external mixer or a supplementary SR system.
These RCA pin-type unbalanced output jacks can be
used to send the main stereo signal to an external DAT
recorder or cassette recorder. The jacks output the stereo signal pre adjustment by the ST master fader l
and graphic equalizer W. As the signal is not adjusted
by these controls, please be sure to make appropriate
level adjustments at the external recording device side.
Q EFF1/2 ON/OFF Jacks
These phone input jacks are for connection to a separately sold FC5 foot switch. The foot switch can be
used as an alternative to the ON switch to toggle the
effector on and off.
R ST OUT Jacks
These unbalanced phone jacks output the mixed stereo
signal (L and R), where the level is adjusted by the ST
master fader l. You would typically connect these
jacks to a power amp or powered speakers.
S PHONES Jack
Connector for headphones. This is a balanced stereo
phone-type output jack.
T LAMP Jack
This XLR 3 pin-type output jack is for connection to
an optional lamp.
NOTE
Supported lamps: 12 V (AC or DC), max. 5 W. Power
of 12 V is supplied between pins 2 and 3. Pin 1 is not
connected.
U GEQ (Graphic Equalizer) display
Indicates the GEQ settings. This 9-band GEQ adjusts
the frequency characteristics of the stereo-bus signal
output at the ST OUT jacks R, ST SUB OUT jacks
O, and SPEAKERS jacks m.
V GEQ +/– Switches
These switches boost or cut the gain of each frequency
band by ±12 dB. The central frequencies for the bands
are: 63, 125, 250, 500, 1k, 2k, 4k, 8k and 16k Hz. The
adjustable gain values are: 0dB, ±1.5dB, ±3dB,
±4.5dB, ±6dB, ±9dB and ±12dB. For intermediate values not printed on the scale, both the upper and lower
indicators light. (For example, the 0 and +3 indicators
light to indicate a value of +1.5dB.)
W GEQ ON Switch
This switch toggles the graphic equalizer on or off.
The switch is illuminated when on.
EMX5016CF Owner’s Manual
23
Reference
Front & Rear Panels
X
Y
Z
[
^
\
]
b
a
• MEASURE mode
There are two measurement methods: noise measurement, engaged by pressing and holding the MEASURE/CORRECT switch for two seconds or longer,
and music playback measurement, by pressing and
holding for three seconds or longer.
To measure the frequency characteristics by noise output generated from the EMX, press and hold the MEASURE/CORRECT switch for two to three seconds.
The indicator flashes quickly and the measurement
starts. The measurement result is updated on the GEQ
display every five seconds after measurement starts.
To measure the frequency characteristics by music
playback, such as from connected CD players, press
and hold the MEASURE/CORRECT switch for three
seconds or longer. The indicator flashes slowly and the
measurement starts. The measurement result is
updated on the GEQ display every five seconds after
measurement starts.
• CORRECT mode
If you press and hold the MEASURE/CORRECT
switch for two seconds or longer after measurement,
the correction curve corresponding to the frequency
characteristics of the measurement result is applied to
the GEQ, and the indicator lights up. The correction
curve will be retained until the next measurement. If
you wish to recall the correction curve after turning off
the GEQ ON switch or power switch, press the MEASURE/CORRECT switch again.
Y VOCAL, DANCE, SPEECH Switches
Pressing either of these switches recalls the preset
GEQ settings. The GEQ display U indicates the settings, and the switch indicator lights up. If you change
the GEQ settings after recall, the switch indicator turns
off. To restore the preset settings, press the switch
again.
Z USER 1, USER 2, USER 3 Switches
These switches are used to store the GEQ settings in
each memory area and recall them.
• Storing
Press and hold the USER switch for two seconds or
longer until the switch indicator flashes.
• Recalling the stored settings
Press the USER switch to be recalled. The settings are
recalled and indicated on the GEQ display U, and the
switch indicator lights up. Pressing the GEQ +/–
switches to adjust the settings after recall turns off the
indicator. To restore the settings, press the USER
switch again.
X FRC MEASURE/CORRECT switch
FRC (Frequency Response Correction System) can
measure the frequency characteristics of the sound
field, and apply the correction curve to the GEQ automatically. The MEASURE mode measures the frequency characteristics, and the CORRECT mode
applies the correction curve to the GEQ according to
the measurement results. For details on using FRC,
refer to page 30.
24
EMX5016CF Owner’s Manual
NOTE
After recalling the GEQ settings by pressing either of
the MEASURE/CORRECT, VOCAL, DANCE,
SPEECH, or USER switches, pressing the switch
again restores the GEQ settings before recall. This is
handy for comparing two GEQ settings.
Reference
Front & Rear Panels
[ Feedback Suppressor
This function monitors the stereo-bus signal for howling and creates notch filters (filters which cut specific
frequencies) to eliminate the howling. There are two
methods: AUTO mode monitors the signal periodically, and MANUAL mode searches for each feedback
point individually. You can use both methods in tandem or either method alone.
• AUTO mode
Pressing the AUTO ON switch turns on the indicator
and monitors for howling periodically. If howling is
found, the corresponding notch filter is created automatically. Pressing the AUTO ON switch again turns
off Feedback Suppressor (notch filters) and the switch
indicator.
To clear the notch filters, press and hold the AUTO ON
switch for two seconds or longer. The indicator flashes
when all notch filters are cleared. As long as you do
not clear the notch filters, the filter settings will be
retained even when you turn off the mixer's power.
NOTE
A notch filter created by AUTO mode will be reduced
by 3 dB a minute after the filter has been created.
• MANUAL mode
Press the MANUAL DETECT switch to check for the
next feedback point in the signal. If howling is found,
(up to) one notch filter is created automatically. During
the check, the MANUAL DETECT switch indicator
flashes. The check is stopped when howling is found or
not found for five seconds. If notch filters are already
created and another howling point is not found, the
indicator goes off for a second, then lights up again.
MANUAL mode detects howling more sensitively
than AUTO mode. Use of this mode may mistakenly
identify musical notes as howling during a performance; however, this mode is handy to set up precautionary notch filters beforehand by intentionally
raising the levels and finding the howling points.
NOTE
• If a notch filter is created by pressing the MANUAL DETECT switch, the MANUAL ON switch
is turned on automatically. To turn off Feedback
Suppressor, press the MANUAL ON switch. The
switch indicator turns off.
• If no notch filters are created, pressing the MANUAL ON switch cannot turn on Feedback Suppressor.
To clear the notch filters, press and hold the MANUAL
ON switch for two seconds or longer. The indicator
flashes when all notch filters are cleared. As long as
you do not clear the notch filters, the filter settings will
be retained even when you turn off the mixer's power.
] LIMITER Indicators
The lamp lights up when the amplified signal output at
the SPEAKERS jacks hits its maximum value.
CAUTION
The lamp indicates that the limiter has come on. If
the lamps are flashing frequently, the load on the
amp is too high and there is risk of damage to your
equipment. Reduce the setting of the ST master fader
l or the AUX1 or AUX2 fader f until the lamps
flash only briefly or not at all.
^ Maximum Output Switch
This selector lets you set the maximum output from for
the 2-channel internal amp to any of three levels. Set
this to match the size of your room or the input capacity of your speakers.
500W: Maximum 500W + 500W/4 ohms.
200W: Maximum 200W + 200W/4 ohms.
75W:
Maximum 75W + 75W/4 ohms
a POWER AMP Switch
Selects the output that gets sent to the SPEAKERS
jacks, as follows.
L/R:
SPEAKERS jacks A1 and A2 output the signal from
the Stereo L bus, while jacks B1 and B2 output the signal from the Stereo R bus. The overall volume is
adjusted by the ST master fader.
AUX1/MONO:
SPEAKERS jacks A1 and A2 output the signal from
the AUX 1 bus; the volume for this signal can be
adjusted using the AUX1 fader. SPEAKERS jacks B1
and B2 output the mix of the signals on the Stereo L
and R buses; the volume can be adjusted with the ST
master fader.
AUX1/AUX2:
SPEAKERS jacks A1 and A2 output the signal from
the AUX 1 bus, while jacks B1 and B2 output the signal from the AUX2 bus. Volumes can be adjusted using
the AUX1 and AUX2 faders, respectively.
b YS Processing Switch
This switch turns Yamaha Speaker Processing on or
off. The processor adjusts the speaker’s bass ranges so
as to compensate, for example, for a lack of subwoofers. Note however that the resulting frequency balance
may vary according to the speakers you are using.
\ MAXIMIZE ON switch
When this switch is turned on, a multi-band (3-band)
compressor is applied to the Stereo L/R bus signal
enhancing the sound and volume of the overall output.
Turning on the switch lights up the indicator.
NOTE
Turning on the power while holding the GEQ ON
switch W and MAXIMIZE ON switch \ restores
the initial factory settings for GEQ, Effects, Feedback
Suppressor, and MAXIMIZE.
EMX5016CF Owner’s Manual
25
Reference
Front & Rear Panels
NOTE
When the switch is on, the mixer supplies DC +48V
power to pins 2 and 3 of all XLR input jacks.
•
CAUTION
•
•
Be sure to leave this switch off if you do not need
phantom power.
When using phantom power, do not connect any
devices other than condenser microphones to the
XLR input jacks. Other devices may be damaged
if connected to phantom power. This precaution
does not apply to balanced dynamic microphones,
however, as these will not be affected by phantom
power.
To avoid damage to speakers, be sure to turn off
the power to the EMX itself and to any other
power amplifiers and power speakers before
switching phantom power on or off. We also recommend that you turn all output controls (channel
faders, ST Master fader, AUX1/2 faders, etc.) to
minimum settings before operating the switch, to
avoid risk of loud noises that could cause hearing
loss or device damage.
d LEVEL Meters
c
d
If the ST/AFL-PFL switch e is set to ST, these meters
show the L and R levels of the signal output from the
ST OUT jacks R. If the ST/AFL-PFL switch is set to
AFL-PFL, the meters show the levels output from the
PHONES jack S.
NOTE
e
f
g
h
i
j
Note that the signal output to the ST OUT jacks is
also passed through the internal amplifier and then
output at the SPEAKERS jacks m. Keep an eye on
the LIMITER lamps ] to ensure that the level at the
SPEAKERS jacks does not stay too high.
e ST/AFL-PFL Switch
If the switch is set to AFL-PFL (
), the LEVEL
meters show the level of the output at the PHONES
jack prior to adjustment by the PHONES control. If the
switch is set to ST (
), the meters show the level
output at the ST OUT jacks following adjustment by
the ST master fader.
NOTE The PFL (F, M, i) and AFL j switches select the
mix to be monitored at the PHONES jack.
f PHONES Control
k
l
Controls the level of the signal output to the PHONES
jack.
g ST SUB OUT Control
Adjusts the signal level to the ST SUB OUT jacks.
NOTE
Has no effect on the output from the ST OUT and
SPEAKERS jacks.
h STANDBY Switch
c PHANTOM Switch and Indicator
This switch toggles phantom power on and off. The
indicator lights up when the setting is on. If you set the
switch on, the mixer supplies power to the XLR mic
input jacks on all channels (the INPUT A jacks on
channels 1 to 8, and the MIC jacks on channel pairs
9/10 to 15/16). Set this switch on when using one or
more condenser microphones.
26
EMX5016CF Owner’s Manual
This switch mutes the input to channels 1 to 8. The
switch lights up to indicate that the mute has been
turned on. Note that the mute does not work on channels 9/10 to 15/16.
NOTE
When using the mixer for live performances, you can
fill in gaps in the performance by turning on the
STANDBY switch and feeding background music
from a CD player or other such device into channels
9/10 to 15/16.
Reference
Front & Rear Panels
i PFL (Pre-Fader Listen) Switch
Set this switch on if you want to monitor the pre-fade
of the signal that is being output at the ST OUT or ST
SUB OUT jacks. If the switch is on, the signal (prior to
adjustment by the ST master fader and ST SUB control) is fed to the PFL bus so that it can be monitored at
the PHONES jack.
NOTE
• The signal level into the PFL bus is not affected by
the settings of the ST master fader and ST SUB
OUT Control.
• The PFL (F, M, i) and AFL j switches select
the mix to be monitored at the PHONES jack. If
the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the
PHONES jack.
j AFL (After-Fader Listen) Switches
Set this relevant switch on if you want to monitor the
post-fade of the signal that is being output at the ST
OUT or the SEND AUX1 or SEND AUX2 jack. If the
switch is on, the signal (following adjustment by the
ST master fader or AUX1 or AUX2 fader) is fed to the
AFL bus so that it can be monitored at the PHONES
jack.
NOTE
• The signal levels into the AFL bus are not affected
by the settings of the ST master fader or the
AUX1/2 fader settings.
• The PFL (F, M, i) and AFL j switches select
the mix to be monitored at the PHONES jack. If
the channel’s PFL or AFL switch is ON, the channel’s output is mixed into the monitor signal to the
PHONES jack.
k AUX1 and AUX2 Faders
The AUX1 fader adjusts the level of the output from
the SPEAKERS A jacks m or the SEND AUX1 jack
H. The AUX2 fader adjusts the level of the output
from the SPEAKERS B jacks m or the SEND AUX2
jack H.
l ST Master Fader
Adjusts the level to the SPEAKERS jacks m or ST
OUT jacks R.
NOTE
• Does not affect the level of the output from the ST
SUB OUT jacks.
• The signal to the SPEAKERS jacks is determined
by the setting of the POWER AMP switch a.
EMX5016CF Owner’s Manual
27
Reference
Front & Rear Panels
Rear Panel
m
p
o n
m SPEAKERS jacks
o AC IN Connector
Use these jacks to connect to speakers. Note that the
output directed to these jacks varies according to the
setting of the POWER AMP switch a.
Connect the included power cable here. Connect one
end of the cord to this connector, and then plug the
other end into a standard power outlet.
A1, B1: NEUTRIK NL4 Speakon outputs. Polarities
are as shown below.
Before turning the power ON or OFF, be sure to turn
both the ST master fader and the AUX1 and AUX2
faders are all the way down.
CAUTION
p Ground Screw
1-
1+
Neutrik Plug
A1 and B1 Connectors
1+
+
1–
–
2+
2+
2-
2–
A2, B2: Phone output jacks.
n POWER Switch
This switch turns the EMX power ON and OFF.
CAUTION
28
Before turning the power ON or OFF, be sure to turn
both the ST master fader and the AUX1 and AUX2
faders are all the way down.
EMX5016CF Owner’s Manual
For maximum safety be sure to securely connect the
EMX to an earth connection. The supplied power cable
has a three-prong plug that will ground the unit when
the plug is inserted into an appropriately grounded
three-prong type AC mains outlet. If the AC outlet is
not grounded, be sure to ground the unit by using this
ground screw. Correct grounding will effectively eliminate hum noise and interference.
Reference
Speaker Connections
When making 2-channel and 2-channel parallel connections to the SPEAKERS jacks, be sure that the impedance of your
speakers meets the conditions indicated below. Note that actual speaker impedance varies according to the connection
method and the number of speakers.
CAUTION
•
•
When making connections, be sure that your cables have the appropriate ratings and the correct plugs.
Be sure to use dedicated speaker cables when connecting speakers to the SPEAKERS jacks.
2-channel connection
When connecting by 2-channel connection, use speakers with impedance of 4 ohms to 8 ohms.
4Ω – 8Ω
4Ω – 8Ω
2-channel parallel connection
When connecting speakers in parallel as shown below, use speakers with impedance of 8 ohms to 16 ohms.
8Ω – 16Ω
8Ω – 16Ω
8Ω – 16Ω
8Ω – 16Ω
EMX5016CF Owner’s Manual
29
Reference
Setting the GEQ with the FRC function
FRC (Frequency Response Correction System) can measure the frequency characteristics of the sound field, and apply the
correction curve to the GEQ according to the measurement result. There are two measurement methods available: pink
noise measurement or music playback measurement.
Noise Generator
Setting up the GEQ by Pink Noise Measurement
This explains how to output pink noise (a kind of measurement
noise) from the speakers, pick up that noise from a microphone
plugged into channel 1, and measure the frequency characteristics
of the room.
STEREO L
R
FRC Noise
Measurement
ST OUT L
R
[Block Diagram of Noise Measurement]
1
Connect the EMX to a set of speakers. Connect a
microphone to channel 1 INPUT A or INPUT B, and
place the microphone at the point to be measured.
2
Set up channel 1 as follows, and lower the ST Master
fader all the way down.
Controls
[26dB] switch
GAIN control
switch
COMP knob
HIGH
MID F
MID
LOW
AUX1 knob
AUX2 knob
EFF1 knob
EFF2 knob
PAN control
ON switch
Channel fader
Settings
Proper level*
Proper level*
Off
0
0dB
—
0dB
0dB
—
—
—
—
Center
On
–∞ (→ 0dB)*
5
6
30
Press and hold the MEASURE/CORRECT switch
for two to three seconds. The indicator begins flashing quickly, and measurement of the frequency characteristics starts.
4
Adjust the ST Master fader to adjust the pink noise
output level.
To adjust the channel 1 input level, turn on the PFL
switch, and adjust the [26dB] switch and GAIN control so that the LEVEL meter 0 flashes occasionally.
Finally set the channel fader to the 0dB position.
EMX5016CF Owner’s Manual
This step is also handy for altering the location of the
speakers and microphone, since the noise output is
muted during the suspension. To resume the measurement, press the MEASURE/CORRECT switch again.
7
Turn off the channel 1 ON switch and lower the
channel fader all the way down. Leaving the fader up
and stopping the measurement in the step below can
result in howling.
8
Press the MEASURE/CORRECT switch for two
seconds or longer to apply the correction curve to the
GEQ according to the frequency characteristics of
the measurement result.
The MEASURE/CORRECT switch indicator
flashes. Also, the GEQ ON switch lights up so that
the GEQ is enabled.
• Make sure that all faders other than channel 1 are
set to their minimum and that no other signals are
input.
• Set the POWER AMP switch to L/R.
3
Confirm that the measurement result is consistent,
and then press the MEASURE/CORRECT switch to
suspend the measurement.
The result is retained even after suspension. At this
time, the GEQ display indications flash.
NOTE
* Adjust these settings in step 4.
NOTE
The measurement result is updated on the GEQ display every five seconds after measurement starts.
NOTE
9
To prevent clipping at the power amp stage by excessive equalization, the correction curve is never set
over ±6dB.
If necessary, adjust the GEQ settings using the GEQ
+/– switches.
If you adjust the GEQ settings, the FRC indicator
turns off. To restore the correction curve immediately after measurement, press the FRC MEASURE/CORRECT switch again. The indicator lights
up.
necessary, store the GEQ settings to a USER
10 Ifswitch.
Reference
Setting the GEQ with the FRC function
Setting up GEQ by Music Playback Measurement
Sound
Source
This explains how to output music playback (such as from a CD
player) via channels 15/16, pick up that signal picked from a
microphone plugged into channel 1, and measure the frequency
characteristics.
1
Connect the EMX to a set of speakers. Connect a
microphone to channel 1 INPUT A or INPUT B, and
place the microphone at the point to be measured.
Connect a CD player to channels 15/16.
2
Set up channels 1 and 15/16 as follows, and lower
the ST Master fader all the way down.
Settings
Proper level*
Proper level*
Off
0
0dB
—
0dB
0dB
—
—
0
Nominal “ ” position
Center
On
–∞ (→ 0dB)*
Settings
Proper level*
Off
0dB
0dB
0dB
—
—
Nominal “ ” position
0
Center
On
–∞ (→ 0dB)*
* Adjust these settings in step 4.
NOTE
3
• Make sure that all faders other than channels 1 and
15/16 are set to their minimum and that no other
signals are input.
• Set the POWER AMP switch to L/R.
Press and hold the MEASURE/CORRECT switch
for three seconds or longer. The indicator begins
flashing slowly, and measurement of the frequency
characteristics starts.
FRC Music
Playback
Measurement
ST OUT L
R
[Block Diagram of Music Playback Measurement]
To adjust the playback level of the CD player, turn
on the channel 15/16 PFL switch, adjust the GAIN
control so that the LEVEL meter 0 flashes occasionally, set the channel faders to the 0dB position, and
then adjust the ST Master fader.
To adjust the channel 1 input level, turn on the PFL
switch, adjust the [26dB] switch and GAIN control
so that the LEVEL meter 0 flashes occasionally, and
set the channel faders to the 0dB position.
5
6
The measurement result is updated on the GEQ display every five seconds after measurement starts.
Confirm that the measurement result is consistent,
and then press the MEASURE/CORRECT switch to
suspend the measurement.
The result is retained even after suspension. At this
time, the GEQ display indications flash.
NOTE
This step is also handy for altering the location of the
speakers and microphone, since the noise output is
muted during the suspension. To resume the measurement, press the MEASURE/CORRECT switch again.
7
Turn off the channels 1 and 15/16 ON switches and
lower the channel fader all the way down. Leaving
the fader up and stopping the measurement in the
step below can result in howling.
8
Press the MEASURE/CORRECT switch for two
seconds or longer to apply the correction curve to the
GEQ according to the frequency characteristics of
the measurement result.
The MEASURE/CORRECT switch indicator
flashes. Also, the GEQ ON switch lights up so that
the GEQ is enabled.
● Channels 15/16
Controls
GAIN control
switch
HIGH
MID
LOW
AUX1 knob
AUX2 knob
EFF1 knob
EFF2 knob
PAN control
ON switch
Channel fader
EFFECT2
4
● Channel 1
Controls
[26dB] switch
GAIN control
switch
COMP knob
HIGH
MID F
MID
LOW
AUX1 knob
AUX2 knob
EFF1 knob
EFF2 knob
PAN control
ON switch
Channel fader
EFFECT1
NOTE
9
To prevent clipping at the power amp stage by excessive equalization, the correction curve is never set
over ±6dB.
If necessary, and adjust the GEQ settings using the
GEQ +/– switches. If you adjust the GEQ settings,
the FRC indicator turns off. To restore the correction
curve immediately after measurement, press the
FRC MEASURE/CORRECT switch again. The
indicator lights up.
necessary, store the GEQ settings to a USER
10 Ifswitch.
EMX5016CF Owner’s Manual
31
Reference
Rack Mounting
To prepare the unit for rack mounting, use the (separately sold) RK5014 rack mount kit.
If rack-mounting the unit, be sure to maintain adequate ventilation so the unit does not overheat. Consider attaching a vent
panel, and do not use a sealed rack.
CAUTION
NOTE
The EMX unit requires 12U of rack space.
How to install the rack-mount hardware
RK5014 Rack Mount Kit
1
Use a screwdriver to remove the screws from the
EMX unit.
2
Set the kit's two metal fittings into position, and
screw them in using the screws (silver) included in
the RK5014.
Do not use the screws (black) you just removed from
the EMX unit.
CAUTION
3
Mount the unit into the rack, and fasten it into place.
Do not install the mixer near power amps or other
heat-generating devices.
CAUTION
32
EMX5016CF Owner’s Manual
Reference
Setup
Top panel
NOTE
Synthesizer
ASSIGN A
PAN/SEND
ASSIGN
TONE
ASSIGN B
PAN
REVERB
CUTOFF
RESONANCE
SWING
GATE TIME
ASSIGN 1
CHORUS
ASSIGN 2
TEMPO
ATTACK
RELEASE
VELOCITY
UNITMULTIPLY
REMOTE
ON / OFF
ARPEGGIO
R-AUDIO
G-MIDI
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
ON / OFF
MUSIC PRODUCTION SYNTHESIZER
PRE 1
KNOB
CONTROL
FUNCTION
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
BYPASS
INSERTION SYSTEM
PRE 2
PRE 3
PRE 4
MODE
EFFECT
ÊARP FX
MASTER
EFFECT
VOICE
PERFORM
SLOT 1
DRUM KITS
MASTER
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
GUITAR/
PLUCKED
BASS
STRINGS
SLOT 2
SLOT 3
PLG 2
PLG 3
BRASS
REED/PIPE
CATEGORY
SEARCH
BANK
EQ
FAVORITES
A. PIANO
KEYBOARD
ORGAN
SEQUENCER
SONG
PATTERN
INTEGRATED
SAMPLING
MIXING
EDIT
JOB
A
FILE
SEQ TRANSPORT
DEC/NO
INC / YES
SYN LEAD
DEMO
UTILITY
1
SCENE
SF2
SF1
LOCATE
1
SF3
SF4
B
C
SYN COMP
2
D
E
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
3
F
G
H
SE
MUSICAL FX
COMBI
SECTION
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
COMMON
Guitar
SYN PAD/
CHOIR
GROUP
INFORMATION
SF5
2
COMPARE
Guitar
OCTAVE
DOWN
STORE
SCENE STORE
SET LOCATE
F1
F2
F3
F4
F5
F6
EXIT
ENTER
EXECUTE
9
10
11
NUMBER
SOLO
UP
MASTER
VOLUME
In most cases it is sufficient to connect speakers
to the SPEAKERS jacks on the unit’s rear panel.
If you want even more output, however, you can
get it by connecting a power amp to the ST OUT,
ST SUB OUT, or AUX 1/2 jacks, and then connecting speakers to the power amp.
Recorder
Monitor
Speakers
Foot Switch
(YAMAHA FC5)
CD Player
Lamp
DI
Bass
Effect processor
(delay)
Microphones
Headphones
Microphones
Power Amp
Effect processor
(exciter)
Drums
Subwoofer
Rear Panel
Power Amp
Speakers
EMX Installation
Exhaust
At least
30 cm
Intake
CAUTION
Vents are located on the front and rear of the EMX
unit. Position the unit so that the vents are not
blocked by nearby walls or objects.
EMX5016CF Owner’s Manual
33
Reference
Troubleshooting
■ Power doesn’t come
on.
■ Power suddenly went
off.
■ Sound suddenly
stopped.
❑ Check whether the vents at the front and rear of the unit are blocked.
The EMX unit may overheat if the vents are blocked. If the unit overheats,
the power may automatically go off. Wait for the unit to cool down, and
then turn the power back on.
❑ Check whether the vents at the front and rear of the unit are blocked.
The EMX unit may overheat if the vents are blocked. If the unit overheats,
it may cut off the output to the internal amp until things cool down.
■ No sound.
❑ Are microphones, external devices, and speakers connected correctly?
❑ Are the GAIN controls, channel faders, ST master fader, and AUX1/2 faders set to appropriate levels?
❑ Check that the speaker cables are not shorted.
❑ If the above checks do not identify the problem, call Yamaha for service.
(Refer to the end of this manual for a list of Yamaha dealers.)
■ Sound is faint, dis-
❑ Are the GAIN controls, channel faders, ST master fader, and AUX1/2 faders set to appropriate levels?
❑ Check that the [26 dB] switches on channels 1 to 8 are set correctly.
❑ On channels 1 to 8, be sure that you have not connected to both INPUT A
and INPUT B. (On each of these channels you may use one input or the
other, but not both.)
❑ Is the input signal from the connected device set to an appropriate level?
❑ You may be applying excessive digital effect. Check your effect settings.
torted, or noisy.
■ No effect is applied.
❑ Check that the EFF1/2 knob on each channel is correctly adjusted.
❑ Be sure that the internal effector’s ON switch is turned on.
❑ Check that the EFF1/2 RTN fader is correctly adjusted.
■ The sound from the
❑
❑
❑
❑
speakers seems dull.
I want a more forceful
sound.
■ I want spoken words
to be heard more
clearly.
■ I want to output a monitor signal through
speakers.
■ I want to initialize the
GEQ and digital effect
settings.
34
❑ Be sure that you are using the supplied power cord, and that it is correctly
connected to the AC IN connector and plugged into a working power outlet.
EMX5016CF Owner’s Manual
Try turning on the YS Processing switch.
Try turning on the MAXIMIZE ON switch.
Adjust the equalizers (HIGH, MID, and LOW knobs) on each channel.
Adjust the graphic equalizers.
❑ Check that the
switches (high pass filters) for the relevant channels
are turned ON as appropriate.
❑ Be sure that the YS Processing switch is turned off.
❑ Adjusting the equalizers (HIGH, MID, and LOW knobs) on each channel.
❑ Adjusting the graphic equalizers.
❑ Connect a powered speaker to the AUX1/2 jacks. Then adjust the
AUX1/2 signal by adjusting the channel AUX1/2 controls and the AUX1
and AUX2 faders.
❑ If you want to send the monitor signal to SPEAKERS A jack, set the
POWER AMP switch to the AUX1/MONO position. (Note that in this case
the A jack will output the monitor signal, and the B jack will output a mix of
the stereo L and R signals.)
❑ Turning on the power while holding the GEQ ON switch and MAXIMIZE
ON switch restores the initial factory settings for GEQ, Effects, Feedback
Suppressor, and MAXIMIZE.
Reference
Specifications
■ General Specifications
* All level controls are nominal, when measured. Output impedance of signal generator: 150Ω
RL=4Ω
Maximum Output Power
(SPEAKERS)
Total Harmonic Distortion
(THD+N)@20Hz-20kHz
RL=8Ω
ST, ST SUB, AUX, EFFECT
REC
ST, ST SUB, AUX, EFFECT
Frequency Response
SPEAKERS
EIN=Equivalent Input Noise
Residual Output Noise
CH1-8 MIC
SPEAKERS
ST, ST SUB, AUX
Crosstalk @ 1kHz
Maximum Voltage Gain @1kHz
Phantom Voltage
Channel Equalizer
Maximum Variation: ±15dB
Turn over/roll-off frequency of
shelving is 3dB below maximum level.
CH 1-15/16 XLR
HIGH
MID (MONO)
MID (ST)
LOW
Compressor (COMP)
CH1-8
PEAK Indicator
SIGNAL Indicator
STANDBY Switch
Level Meter
Digital Graphic Equalizer
ST, PFL/AFL
ST OUT
Frequency Response Correction (FRC) System
Feedback Suppressor (FBS)
MAXIMIZE
Digital Effect
Lamp
Maximum Output Power Select Switch
Power Amplifier Signal Select Switch
Yamaha Speaker Processing
Power Amplifier Protection
Power Supply Protection
Cooling
Power Consumption
AC Cord
Dimensions
Net Weight
SPEAKERS
Conditions
Both channels drive, 1 kHz,
THD+N <
= 0.5%
Rated power supplies:
120V, 230V and 240V
+14dBu output into 600Ω
0dBV output into 10kΩ
20Hz-20kHz, 1kHz output level,
GAIN at minimum level, PAD=Off,
+4dBu, RL=8Ω, 1W
GAIN at maximum level,
20Hz-20kHz
MIN
500
350
(US, AU)
320 (EU)
TYP
MAX
Unit
W
–3.0
0.0
0.3
0.5
1.0
–3.0
0.0
1.0
–128
–68
–95
–68
–68
%
dB
dBu
dBu
Adjacent inputs
dB
Input to output
MIC to SPEAKERS
109
MIC to ST OUT
84
MIC to ST SUB OUT
80
MIC to AUX SEND (PRE)
80
dB
MIC to AUX SEND (POST)
90
MIC to EFFECT SEND
80
MIC to REC OUT
62.2
CH 9/10-15/16 LINE to ST OUT
58
No load
48
V DC
10kHz (Shelving)
250Hz-5kHz (Peaking)
2.5kHz (Peaking)
100Hz (Shelving)
On each channel 1-8: One control adjusts the Gain, Threshold, and Ratio
simultaneously.
On each channel: Indicator lights if post-EQ signal comes within 3dB of the
clipping level.
On each channel: Indicator lights if post-EQ signal reaches –10dB.
CH1-8 mute
Two 12-points LED level meter (PEAK, +5, +3, +1, 0, –1, –3, –5, –7, –10,
–15, –20 dB)
PEAK lights if the signal comes within 3 dB of the clipping level.
9-band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz), ±12 dB (maximum variation)
Preset × 3, User preset × 3
Pink noise/Music playback measurement mode
AUTO/MANUAL mode
3-band compressor on/off
2 effect processors, 16 programs each, PARAMETER control each
Foot switches (effects on/off)
XLR-3-31 type, 12 V DC between pins 2 and 3, 5 W max.
500W+500W, 200W+200W, 75W+75W
L/R, AUX1/MONO, AUX1/AUX2
Speaker EQ on/off
POWER switch on/off mute
DC-fault: power supply shutdown/manual reset
Thermal/heatsink temp >
= 90°C: output mute/auto reset
Vl limiter/RL <
= 2Ω
Clip limiter/THD >
= 1%: compression, Indicator × 2
Thermal/heatsink temp >
= 100°C: power supply shutdown/manual reset
Dual variable-speed fan
500
W
Length
2500
mm
Height
155
Depth
493
mm
Width
444
11
kg
EMX5016CF Owner’s Manual
35
Reference
Specifications
■ Input Characteristics
Input Terminals
PAD
GAIN
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50-600 Ω
Mics
10 kΩ
600 Ω
Lines
3 kΩ
50-600 Ω
Mics
10 kΩ
600 Ω
Lines
10 kΩ
600 Ω
Lines
–60 dB
0 dB
–16 dB
CH INPUT A 1-8
–34 dB
26 dB
+10 dB
–60 dB
0 dB
–16 dB
CH INPUT B 1-8
–34 dB
26 dB
+10 dB
–60 dB
ST CH MIC INPUT
9/10-15/16
—
ST CH LINE INPUT
9/10-15/16
—
CH INSERT IN 1-8
—
–16 dB
–34 dB
+10 dB
—
Sensitivity *2
–80 dBu
(0.078 mV)
–36 dBu
(12.3 mV)
–54 dBu
(1.55 mV)
–10 dBu
(245 mV)
–80 dBu
(0.078 mV)
–36 dBu
(12.3 mV)
–54 dBu
(1.55 mV)
–10 dBu
(245 mV)
–80 dBu
(0.078 mV)
Input level
Nominal
–60 dBu
(0.775 mV)
–16 dBu
(123 mV)
–34 dBu
(15.5 mV)
+10 dBu
(2.45 V)
–60 dBu
(0.775 mV)
–16 dBu
(123 mV)
–34 dBu
(15.5 mV)
+10 dBu
(2.45 V)
–60 dBu
(0.775 mV)
–36 dBu
(12.3 mV)
–54 dBu
(1.55 mV)
–10 dBu
(245 mV)
–20 dBu
(77.5 mV)
–16 dBu
(123 mV)
–34 dBu
(15.5 mV)
+10 dBu
(2.45 V)
0 dBu
(0.775 V)
Max. before clip
–40 dBu
(7.75 mV)
+4 dBu
(1.23 V)
–14 dBu
(155 mV)
+30 dBu
(24.5 V)
–40 dBu
(7.75 V)
+4 dBu
(1.23 V)
–14 dBu
(155 mV)
+30 dBu
(24.5 V)
–40 dBu
(7.75 mV)
–10 dBu
(245 mV)
–14 dBu
(155 mV)
+30 dBu
(24.5 V)
+20 dBu
(7.75 V)
Connector
XLR-3-31 type *3
Phone jack *4
XLR-3-31 type *3
Phone jack *5
RCA Pin jack *5
Phone jack *5
*1 0dBu is referenced to 0.775Vrms.
*2 Sensitivity is the lowest level that will produce an output of +4dBu (1.23V), or the nominal output level when the unit is set to maximum
level. (All faders and level controls are at maximum position.)
*3 XLR-3-31 type connectors are balanced.
*4 Phone jacks are balanced. (T=HOT, R=COLD, S=GND)
*5 Phone jacks and RCA pin jacks are unbalanced.
■ Output Characteristics
For Use With
Nominal
Nominal
Max. before clip
ST OUT [L, R]
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone jack *2
ST SUB OUT [L, R]
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone jack *2
AUX SEND 1, 2
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone jack *2
EFF SEND 1, 2
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone jack *2
CH INSERT OUT 1-8
600 Ω
10 kΩ Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
Phone jack *2
REC OUT [L, R]
600 Ω
10 kΩ Lines
–10 dBV (316 mV)
+10 dBV (3.16 V)
RCA pin jack
PHONES [L, R]
100 Ω
40 Ω Lines
3 mW
75 mW
Phone jack (TRS)
SPEAKERS
0.1 Ω
4 Ω Speakers
125 W
500 W
SPEAKON
Phone jack *2
*1 0dBu is referenced to 0.775Vrms. 0dBV is referenced to 1Vrms.
*2 Phone jacks are unbalanced.
36
Output level
Actual Source
Impedance
Output Terminals
EMX5016CF Owner’s Manual
Connector
Reference
Specifications
■ Digital Effect Program List
● EFFECT 1
No.
1
2
Program
HALL 1
ROOM 1
Parameter
Reverb Time
Reverb Time
Range
0.3 to 10.0 s
0.3 to 3.2 s
3
PLATE 1
Reverb Time
0.3 to 10.0 s
4
5
6
7
8
9
LARGE STAGE 1
SMALL STAGE 1
VOCAL ECHO
KARAOKE
DELAY
CHORUS
Reverb Time
Reverb Time
Delay
Delay
Delay
LFO Freq
0.3 to 10.0 s
0.3 to 10.0 s
30.0 to 743.0 ms
40.0 to 265.0 ms
20.0 to 743.0 ms
0 to 39.7 Hz
10
EARLY REF.
Room Size
0.1 to 10.0
11
GATE REVERB
Room Size
0.1 to 10.0
12
13
14
15
16
REVERSE GATE
TREMOLO
SINGLE DELAY
DYNA FILTER
PITCH CHANGE
Room Size
LFO
Delay
Sensitivity
Pitch
0.1 to 10.0
0 to 39.7 Hz
0 to 743.0 ms
0 to 127
–12 to +12
Program
HALL 2
ROOM 2
Parameter
Reverb Time
Reverb Time
Range
0.3 to 10.0 s
0.3 to 3.2 s
3
PLATE 2
Reverb Time
0.3 to 10.0 s
4
5
6
7
8
9
10
11
12
LARGE STAGE 2
SMALL STAGE 2
VOCAL ECHO
KARAOKE
DELAY
CHORUS
PHASER
FLANGER
SYMPHONIC
Reverb Time
Reverb Time
Delay
Delay
Delay
LFO Freq
LFO Freq
LFO Freq
LFO Depth
0.3 to 10.0 s
0.3 to 10.0 s
30.0 to 743.0 ms
40.0 to 265.0 ms
20.0 to 743.0 ms
0 to 39.7 Hz
0 to 8.08 Hz
0 to 8.08 Hz
0 to 127
13
DOUBLER
Pitch Fine
0 to 50 cent
14
15
AUTO WAH
DISTORTION
LFO Freq
Drive
0 to 8.41 Hz
0 to 63
16
RADIO VOICE
Cutoff Offset
Descriptions
Reverb simulating a large space such as a concert hall.
Reverb simulating the acoustics of a small space (room).
Simulation of a metal-plate reverb unit, producing a more hard-edged
reverberation.
Reverb simulating a large stage.
Reverb simulating a small stage.
Echo designed for conventional vocals.
Echo designed for karaoke (sing-along) applications.
Feedback delay adding multiple delayed signals.
Creates a thicker sound by modulating the delay time.
An effect which isolates only the early reflection components from
reverberation, creating a ‘flashier’ effect than conventional reverb.
An effect which abruptly cuts the tail-end of the reverberation, making
a more powerful sound.
A reverse-playback type early reflection.
An effect which cyclically modulates the volume.
Monaural delay adding a delayed signal.
An effect which applies a low pass filter.
An effect which changes the pitch of the signal.
● EFFECT 2
No.
1
2
0 to 63
Descriptions
Reverb simulating a large space such as a concert hall.
Reverb simulating the acoustics of a small space (room).
Simulation of a metal-plate reverb unit, producing a more hard-edged
reverberation.
Reverb simulating a large stage.
Reverb simulating a small stage.
Echo designed for conventional vocals.
Echo designed for karaoke (sing-along) applications.
Feedback delay adding multiple delayed signals.
Creates a thicker sound by modulating the delay time.
Cyclically changes the phase to add modulation to the sound.
Adds a feeling of pitched sound.
Multiplies the sound for thicker texture.
Creates the effect of two voices or two instruments singing or playing
the same phrase.
A wah-wah effect in which the the frequency is modulated by LFO.
Adds a sharp-edged distortion to the sound.
Recreates the lo-fi sound of an AM radio. The parameter adjusts the
frequency band to be emphasized.
EMX5016CF Owner’s Manual
37
Reference
Specifications
Dimensional Diagrams
444 (440 excluding screw heads)
155
8
485
493
6
145
Unit: mm
38
EMX5016CF Owner’s Manual
R
BA
HPF
HA
ST CH LINE
GAIN Max. [-34dBu]
Clip Level
ST CH MIC
[-16dBu]
ST CH LINE
GAIN Min. [+10dBu]
Clip Level
YE
YE
ST CH IN
[-10dBu]
EFF 2 ON
PARAMETER
PROGRAM
EFFECT 2
EFF 1 ON
PARAMETER
PROGRAM
EFFECT 1
3-Stage EQ
PEAK
SIGNAL
GR
RE
[0dBu]
YE
ON
BA
EFF1 OUT R
D/A
D/A
BA
BA
BA
BA
[-6dBu]
[-6dBu]
[-6dBu]
CH & ST CH to AUX/EFFECT [-6dBu]
CH & ST CH to ST [0dBu] (PAN,BAL hard left/right)
[-6dBu]
PFL
[-6dBu]
AUX2
[-10dBu]
[-6dBu]
[-6dBu]
[-10dBu]
EFF 2
AUX1
EFF 2RTN
PFL
AUX2
AUX1
CH fader [-10dBu]
EFF2 OUT R
EFF2 OUT L
EFF IN 1
A/D
EFF IN 2
A/D
D/A
D/A
PFL
2
EFF 1
PRE AUX
[-6dBu]
PAN/BAL
PRE AUX
1
[0dBu]
PFL
EFFE 1RTN
[0dBu]
EFF1 OUT L
BA
(ST CH Fader)
[-10dBu]
INSERT I/O [0dBu]
Clip Level
YE
[-6dBu]
[-6dBu]
[-6dBu]
EFF 1
EFF 2
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
AFL
PFL
SUM
SUM
SUM
SUM
[0dBu]
[0dBu]
[0dBu]
[0dBu]
AFL
[0dBu]
[0dBu]
AFL
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
A/D
A/D
PHONES
[-16dBu]
AUX1
[-10dBu]
AUX1
[-10dBu]
ST R
Multi
Band
Comp.
ST L
INV
INV
BA
BA
BA
BA
FBS
DSP
ST OUT L
D/A
ST OUT R
GEQ
+
FRC
D/A
BA
BA
BA
INV
[+4dBu]
R
MONO
AUX2
L
AUX1
AUX1
[12V]
LAMP
DR
DR
ST
AFL/PFL
ST
AFL/PFL
REC OUT [-10dBV]
ON
YE
75W
200W
500W
75W
INV
PA
PA
SPEAKERS
(+29.2dBu)
[125W/4ohms]
R
MONO
AUX2
L
AUX1
AUX1
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+20dBu
+30dBu
+40dBu
1
2
1
2
[500WMAX @ 4ohms]
(+35.2dBu)
SPEAKER OUT
MAXIMUM OUTPUT POWER [500W/4ohms]
LIMITER
RE
LIMITER
LIMITER
RE
LIMITER
[PHONES [email protected]]
Clip Level
(LED METER)
YSP
PHONES [-16dBu]
ST OUT, ST SUB OUT [+4dBu]
AUX SEND, EFFECT SEND [+4dBu]
YSP
200W
500W
POWER AMP
ON
YS PROCESSING
[3mW 40ohms]
PHONES
[+4dBu]
EFF 2
[+4dBu]
EFF 1
[+4dBu]
AUX2
[+4dBu]
SEND
[-10dBV]
REC OUT
[+4dBu]
ST OUT
AUX1
R
L
R
L
R
L/MONO
ST SUB OUT
(METER SELECT)
SUM
Clip Level
[-6dBu]
ST, AUX fader [-10dBu]
ST SUB level control
ST
[-10dBu]
BA
ST SUB OUT
[-6dBu]
-70dBu
-60dBu
CH INPUT (PAD OFF)
GAIN Max. [-60dBu]
ST CH MIC
[-60dBu]
-70dBu
-60dBu
-50dBu
HA
3-Stage EQ
[0dBu]
[-6dBu]
PRE
AUX2
PAN
PRE
AUX1
ON
[0dBu]
COMP
(TH)
BA
3-Stage EQ
COMP
RE
STAND-BY
-40dBu
INV
[0dBu]
80
80
PEAK
SIGNAL
GR (CH Fader)
[-10dBu]
RE
ST L(NON-MUTE)
ST R(NON-MUTE)
AUX 1(NON-MUTE)
AUX 2(NON-MUTE)
EFFECT1(NON-MUTE)
EFFECT2(NON-MUTE)
-50dBu
CH INPUT (PAD ON)
GAIN Max. [-34dBu]
CH INPUT (PAD OFF)
GAIN Min. [-16dBu]
CH INPUT (PAD ON)
GAIN Min. [+10dBu]
INV
HPF
[0dBu]
GAIN
[-34dBu to +10dBu]
HA
+48V
GAIN
[-60dBu to -16dBu]
[-34dBu to +10dBu]
HA
[-30dBu to +14dBu]
26dB
PAD
RE
PFL L/AFL L
PFL R/AFL R
-40dBu
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+20dBu
+30dBu
+40dBu
0dBu=0.775V
0dBV=1V
EFF2 ON/OFF
EFF1 ON/OFF
CH10R,12R,14R,16R
[-34dBu to+10dBu]
ST CH LINE
CH9L,11L,13L,15L
[-34dBu to +10dBu]
L
[-60dBu to -16dBu]
MIC
CH9/10,11/12,13/14,15/16
ST CH INPUT
[0dBu]
INSERT
[-34dBu to +10dBu]
INPUT B
[-60dBu to -16dBu]
INPUT A
MID
PHANTOM
HIGH
CH1-8
LOW
ST L(MUTE)
ST R(MUTE)
AUX 1(MUTE)
AUX 2(MUTE)
EFFECT1(MUTE)
EFFECT2(MUTE)
LOW
Mid f
MID
HIGH
CH INPUT
B
A
Reference
Specifications
Block Diagram and Level Diagram
EMX5016CF Owner’s Manual
39
For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
ASIA
POLAND
Yamaha Music Europe GmbH
Branch Sp.z o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: 022-868-07-57
THE NETHERLANDS/
BELGIUM/LUXEMBOURG
Yamaha Music Europe Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
BRAZIL
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,
CEP 04534-013 Sao Paulo, SP. BRAZIL
Tel: 011-3704-1377
Yamaha Música Ibérica, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
SWEDEN
ARGENTINA
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Olga Cossettini 1553, Piso 4 Norte
Madero Este-C1107CEK
Buenos Aires, Argentina
Tel: 011-4119-7000
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: +507-269-5311
EUROPE
THE UNITED KINGDOM
Yamaha Music U.K. Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1, Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A, DK-2730 Herlev, Denmark
Tel: 44 92 49 00
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1, N-1345 Østerås, Norway
Tel: 67 16 77 70
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Europe GmbH
Branch Switzerland in Zürich
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
CZECH REPUBLIC/SLOVAKIA/
HUNGARY/SLOVENIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-602039025
PA24
Yamaha Music & Electronics (China) Co.,Ltd.
2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,
Shanghai, China
Tel: 021-6247-2211
INDIA
Yamaha Music India Pvt. Ltd.
5F Ambience Corporate Tower Ambience Mall Complex
Ambience Island, NH-8, Gurgaon-122001, Haryana, India
Tel: 0124-466-5551
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,
Kangnam-Gu, Seoul, Korea
Tel: 080-004-0022
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
SINGAPORE
Yamaha Music Asia Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: 02-2511-8688
THAILAND
RUSSIA
Yamaha Music (Russia)
Office 4015, entrance 2, 21/5 Kuznetskii
Most street, Moscow, 107996, Russia
Tel: 495 626 0660
OTHER EUROPEAN COUNTRIES
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
GERMANY
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
THE PEOPLE’S REPUBLIC OF CHINA
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LOB 16-513, P.O.Box 17328, Jubel Ali,
Dubai, United Arab Emirates
Tel: +971-4-881-5868
Siam Music Yamaha Co., Ltd.
4, 6, 15 and 16th floor, Siam Motors Building,
891/1 Rama 1 Road, Wangmai,
Pathumwan, Bangkok 10330, Thailand
Tel: 02-215-2626
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2317
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: 3-9693-5111
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
Yamaha Pro Audio global web site
http://www.yamahaproaudio.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2006 Yamaha Corporation
WH17360 004POZC*.*-0xC0
Printed in Indonesia
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