EMX5014C Specifications
GENERAL SPECIFICATION
EMX5014C
Input Terminals
Maximum Output Power
@ 0.5 % THD at 1 kHz
500 W/4 Ω
350 W/8 Ω (UA)
320 W/8 Ω (H)
Frequency Response
-3, 0, 1 dB
20 Hz-20 kHz, ref to the nominal output level @ 1 kHz
Total Harmonic Distortion
POWERED MIXER
INPUT CHARACTERISTICS
PAD
GAIN
Actual Load
Impedance
For Use With
Nominal
-60 dB
0dB
-16 dB
CH INPUT A 1-6
50-600 Ω
Mics
3 kΩ
-34 dB
26dB
Less than 0.3 % (THD+N)
+14dBu output into 600 Ω @ 20 Hz-20 kHz
+10 dB
Hum & Noise
Equivalent Input Noise, -128 dBu, GAIN=MAX, 20 Hz-20 kHz, ST OUT
Crosstalk @ 1 kHz
-68 dB
Input Connectors
CH 1-6: XLR and Phone
CH 7/8, 9/10: XLR and Phone
CH 11/12, 13/14: XLR and Pin
EQ
HIGH (10K, Shelving), MID (mono: 250-5K, st: 2.5K, Peaking), LOW (100, Shelving)
Phantom Voltage
48 V
-60 dB
0dB
-16 dB
CH INPUT B 1-6
10 KΩ
600 Ω
Lines
3 kΩ
50-600 Ω
Mics
10 KΩ
600 Ω
Lines
10 KΩ
600 Ω
Lines
10 kΩ
600 Ω
Lines
-34 dB
26dB
+10 dB
-60 dB
—
-16 dB
ST CH INPUT
Graphic Equalizer
9 Band (63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k, 16 kHz)
Digital Effects
SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs
Power Amp. Mode
L/R, AUX1/MONO, AUX1/2
Foot Switch
Effect On/Off
Dimensions (W x D x H)
444 x 493 x 155 mm (17-3/8" x 19-3/8" x 6-1/8")
Weight
10.5 kg (23.1 lbs.)
Power Requirements/Consumption
U/C: 120 V 60 Hz, 450 W
H: 230 V 50 Hz, 450 W
BS: 240 V 50 Hz, 450 W
-34 dB
7/8-9/10
—
+10 dB
-34 dB
ST CH INPUT
11/12-13/14
—
CH INSERT IN
(1-6)
—
+10 dB
—
*1 0 dBu is referenced to 0.775 Vrms.
*2 Sensitivity is the lowest level that will produce an output of +4 dBu
(1.23 V), or the nominal output level when the unit is set to maximum level.
(All level controls are at maximum position.)
All level controls are nominal, when measured. Output impedance of signal generator: 150 Ω
Input Level
Sensitivity *2
Position
Max. Before Clip
-80 dBu
(0.078 mV)
-36 dBu
(12.3 mV)
-54 dBu
(1.55 mV)
-60 dBu
(0.775 mV)
-16 dBu
(123 mV)
-34 dBu
(15.5 mV)
-40 dBu
(7.75 mV)
+4 dBu
(1.23 V)
-14 dBu
(155 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)
-36 dBu
(12.3 mV)
-54 dBu
(1.55 mV)
-10 dBu
(245 mV)
-54 dBu
(1.55 mV)
-10 dBu
(245 mV)
-20 dBu
(77.5 mV)
+10 dBu
(2.45 V)
-60 dBu
(0.775 mV)
-16 dBu
(123 mV)
-34 dBu
(15.5 mV)
+10 dBu
(2.45V)
-60 dBu
(0.775 mV)
-16 dBu
(123 mV)
-34 dBu
(15.5 mV)
+10 dBu
(2.45 V)
-34 dBu
(15.5 mV)
+10 dBu
(2.45 V)
0 dBu
(0.775 V)
+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)
-14 dBu
(155mV)
+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
Phone Jack *5
RCA Pin Jack
Phone Jack *5
*3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
*5 Phone Jacks are unbalanced.
OUTPUT CHARACTERISTICS
Actual Source
Impedance
For Use With
Nominal
Output Level
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
EFFECT SEND
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
CH INSERT OUT 1-6
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
8 Ω/40 Ω Lines
1mW/3mW
20mW/75mW
Phone Jack (TRS)
SPEAKER OUT
0.1 Ω
4 Ω Speakers
125W
500W
SPEAKON
Phone Jack *2
Output Terminals
Rack Mount Adaptor RK5014
The EMX5014C can be rack-mounted using an
optional rack-mounting kit for optimum
integration with any system or installation.
Connector
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
EMX512SC, EMX312SC, EMX212S Specifications
GENERAL SPECIFICATION
Maximum Output Power
@ 0.5 % THD at 1 kHz
INPUT CHARACTERISTICS
EMX512SC
EMX312SC
EMX212S
500 W/4 Ω
350 W/8 Ω (UA)
320 W/8 Ω (H)
300 W/4 Ω
190 W/8 Ω (UA)
180 W/8 Ω (H)
220 W/4 Ω
130 W/8 Ω (UA)
130 W/8 Ω (H)
Frequency Response
Total Harmonic Distortion
Less than 0.5 % (THD+N)
+14 dB @ 20 Hz, 1 kHz, 20 kHz, GAIN control: all nominal
Hum & Noise*1
Equivalent Input Noise, -115 dBu, Rs = 150 Ω CH 1-4 MIC/LINE: MIC
Crosstalk @ 1 kHz
-65 dB
Input Connectors
CH 1-4: XLR and Phone
CH 5/6, 7/8: XLR and Phone
CH 9/10, 11/12: XLR and Pin
HIGH (10K, Shelving), MID (2.5K, Peaking), LOW (100, Shelving)
15 V
Graphic Equalizer
7 Band (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz): Main (Stereo) and Monitor
Digital Effects
SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs
MAIN L/R, MAIN (L+R)/MONITOR
Dimensions (W x D x H)
442 x 274 x 286 mm (17-3/8" x 10-3/4" x 11-1/4")
Weight
8 kg (17.6 lbs.)
XLR
—
Position
Max. Before Clip
-60 dBu
(0.69 mV)
-35 dBu
(13.8 mV)
-15 dBu
(138 mV)
-30 dBu
(21.8 mV)
-5 dBu
(436 mV)
+15 dBu
(4.36 V)
-50 dBu
(2.18 mV)
-25 dBu
(43.6 mV)
-5 dBu
(436 mV)
-20 dBu
(69.0 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
Connector
50-600 Ω
Mics
6 KΩ
600 Ω
2 kΩ
50-600 Ω
Mics
-60 dBu
(0.69 mV)
-35 dBu
(13.8 mV)
-15 dBu
(138 mV)
XLR-3-31 type *3
-20 dBu
(69.0 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
Phone Jack *5
LINE
CH INPUT
5/6, 7/8
Input Level
Sensitivity *2
2 kΩ
MIC
Phone
Phantom Voltage
Effect On/Off
For Use With
Nominal
CH INPUT 1-4
EQ
Foot Switch
Actual Load
Impedance
MIC
XLR
CH INPUT
9/10, 11/12
Power Amp. Mode
MIC/LINE
LINE
-3, 0, 1 dB
20 Hz-20 kHz, ref to the nominal output level @ 1 kHz
Power Requirements/Consumption
Input Terminals
XLR-3-31 type *3
Phone Jack *4
Phone
—
10 KΩ
600 Ω
Lines
XLR
—
2 kΩ
50-600 Ω
Mics
-60 dBu
(0.69 mV)
-35 dBu
(13.8 mV)
-15 dBu
(138 mV)
XLR-3-31 type *3
10 KΩ
600 Ω
Lines
-20 dBu
(69.0 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
RCA Pin Jack
Pin
—
*1 0 dBu is referenced to 0.775 Vrms.
*2 Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to maximum level.
(All level controls are at maximum position.)
*3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
*5 Phone Jacks are unbalanced.
OUTPUT CHARACTERISTICS
U/C: 120 V 60 Hz, 450 W
H: 230 V 50 Hz, 450 W
A: 240 V 50 Hz, 450 W
U/C: 120 V 60 Hz, 400 W
H: 230 V 50 Hz, 400 W
A: 240 V 50 Hz, 400 W
Output Terminals
U/C: 120 V 60 Hz, 270 W
H: 230 V 50 Hz, 270 W
A: 240 V 50 Hz, 270 W
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation.
SPEAKER OUT
[A1, A2, B1, B2]
Actual Source
Impedance
0.1 Ω
Output Level
For Use With
Nominal
4 Ω Speakers
Connector
Nominal
Max. Before Clip
EMX512SC
125 W
500 W
[A1, B1] SPEAKON
EMX312SC
75 W
300 W
[A2, B2] Phone Jack *2
EMX212S
50 W
200 W
MAIN OUT [L, R]
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
EFFECT OUT
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
MONITOR OUT
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
Rack Mount Adaptor RK512
REC OUT [L, R]
600 Ω
10 kΩ Lines
—
-10 dBV (316 mV)
+10 dBV (3.16 V)
RCA Pin Jack
All models in this series can be rack-mounted using an optional rackmounting kit for optimum integration with any system or installation.
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
Phone Jack *2
Specifications and appearance suject to change without notice.
All trademarks and registered trademarks are property of their respective owners.
www.yamahaproaudio.com
Printed in Japan
LPA514
SERIES
EMX5014C
EMX512SC/EMX312SC/EMX212S
A Console-format Powered Mixer for Advanced Live Applications
"COMP" CHARACTERISTICS
INPUT
More sources? Bigger venues? If your sound reinforcement requirements are
getting serious, but you still want the convenience and reliable performance of
a Yamaha powered mixer, check out the console-style EMX5014C. Here’s an
all-in-one solution that will appeal to bands and venue operators alike. The
EMX5014C transports and sets up with the ease of systems built around the
smaller EMX-series powered mixers, but will also prove it’s worth in more
permanent installations. It can even be rack-mounted for vertical or angled
operation, and real space savings! But of course the EMX5014C offers much
more than just convenience. It provides a surprising palette of features and
versatile signal routing options that can take your live sound to the next level.
And it’s a Yamaha, so you know it’s going to sound great.
"0"
"THRESHOLD"
= +20 - -10dBu
"10"
"RATIO" = 3 - 2.5
"GAIN" = 0 - +9dB
"ATTACK" = 20ms
"RELEASE" = 250ms
Console Controllability and Versatility
Other Pro-class Features
With the many features and control functions provided by the EMX5014C, console style is the only way to
go. It’s still compact enough to be placed in the stage area and controlled by the performers – especially if
rack mounted – but its console configuration also makes it an ideal choice for front-of-house type operation
by a sound engineer. Linear faders are another advantage of the console layout, providing precise level
control as well as graphic representation of relative channel levels.
• Gain controls and 26-dB pad switches allow optimum level
matching with just about any source.
Expanded EQ Capability
• Channel ON switches let you switch individual channels into
or out of the mix.
Like the other EMX-series mixers, the EMX5014C features 3-band EQ on all input channels, but goes a
step further on the six mono channels with mid-frequency sweep controls. The mid EQ center frequency
can be continuously swept from 250 Hz through 5 kHz so you can precisely pinpoint frequencies in the
critical midrange that require compensation or enhancement, providing significantly greater enhanced
tailoring potential. The stereo graphic equalizer has also been expanded with 9 bands that can be used
for more effective room voicing or feedback control.
OUTPUT
One-knob Compression on Mono Channels
Built-in channel dynamics is normally a feature reserved for much larger (and more
expensive) mixers. But in the EMX5014C you get compressors on all six monaural mic/line
channels. Judicious application of compression can help to make vocals ride the mix better,
give you that smooth compressed guitar sound, deliver more punchy bass, and generally
refine your mixes in a multitude of ways. Yamaha’s unique one-knob compressors are
simple to use, too. There’s no need to juggle multiple attack, threshold, makeup gain, and
other controls – just set the COMP control to the amount of compression you need.
Up To 8 Mics, 14 Inputs Total
• 80-Hz high pass filters for elimination of unwanted lowfrequency noise and rumble.
• Pan control adjusts the position of mono channel signals in
the stereo sound field, while balance controls on stereo
channels control the balance of the stereo image.
• High-quality linear faders individually adjust the level of
each channel.
• PFL (pre-fader listen) switches allow isolated monitoring of
individual channels.
• All input channels feature signal and peak indicators for
visual signal monitoring.
• Linear AUX 1, AUX 2, and EFFECT RTN faders with AFL
(after-fader listen) monitor switches.
• Stereo master fader with both PFL and AFL monitor switches.
Feedback Channel Locating (FCL) System
4 Stereo inputs
FCL System indicator LEDs at the top of each channel light if the corresponding channel
goes into feedback. So if and when feedback occurs you’ll be able to locate the
channel(s) in which it is occurring immediately and rectify the problem without delay.
500 W + 500 W (4Ω)
3-band Mid-sweep Channel EQ
Versatile 14-Input Configuration
9-band Stereo Graphic EQ
• Limiter indicators tell you when the internal limiter circuitry
has been activated due to power amplifier overload.
• Power Amp mode selector allows twochannel power amplifier to be quickly
configured for Main + Main, Mono
+ Aux 1, or Aux 1 + Aux 2 operation.
Dual AUX Sends
The EMX5014C has a total of 14 input channels – six for monaural microphone or line input, plus four
stereo pairs. Two of the stereo channels can function either as monaural microphone inputs or stereo
line inputs. Switchable phantom power is provided for all microphone inputs. This system lets you use
up to eight microphone channels plus two stereo inputs if your sources are mostly microphones. Or if
you need to handle more stereo sources – say, Background Music, from a DJ mixer, and two stereo
keyboards – the EMX5014C will comfortably handle all of these in addition to six monaural microphone
or line inputs.
Comprehensive I/O
• Phones jack with independent level control.
Input Gain Trim
Although the EMX5014C and a pair of speakers or two are all you need to create a powerful, highperformance live sound system, it features a range of inputs and outputs that allow it to be integrated into
larger systems. Insert patch points on the mono input channels, for example, let you add outboard signal
processing to individual input channels. And although you have all the effects you’re likely to need built in,
and monitor power, external AUX and EFFECT sends allow you to route the mixer’s signals to external
signal processing and/or monitor systems as required. Stereo out, stereo sub-out, and record outputs are
also provided.
• High-quality SPEAKON speaker connectors for fast, reliable
connection. Phone jack connectors are also provided.
One-knob Compression
FCL System
SPX Digital Effects
Comprehensive I/O
PFL and AFL Monitoring
Power Select Switch
Standby Mode
SPX Digital Effects
Power Amp Mode Switch
Normally you’ll only need ambience effects such as reverb and delay for live sound applications – and the
EMX5014C includes some of the finest reverb and delay effects available built right in – but if you need
other effects as well they’re right at your fingertips. You can dial up a selection
of 16 top-quality Yamaha SPX effects – including reverb, echo, chorus,
flanger, phaser, and even distortion. Yamaha SPX digital effects are widely
recognized as being some of the finest available, and the effects provided in
the EMX mixers live up to that reputation.
YAMAHA Speaker Processing
Lightweight Design
Rack Mountable
• Power amplifier output selector allows selection of 500,
200, or 75 watt output per channel.
• Stand-by switch instantly mutes all mono inputs.
• Precise 12-segment stereo level meter.
System Examples
500-watt Mains and Monitor
In this basic system the EMX5014 Speaker A output is
driving a pair of parallel-connected S112V speakers for
solid front-of-house sound, while an SM12V driven by
the Speaker B output serves as a stage monitor.
EMX5014C
Dual AUX Sends
Dimensions
unit: mm
155
444
(440 excluding screw heads)
Rear Panel
AUX 1 and AUX 2 send controls, with pre/post fader switching for AUX 2, adjust the level of the channel
signal sent to the auxiliary buses for monitoring or effects send. The available of two AUX sends provides
considerable flexibility for effect and monitor routing. You could, for example, use the channel EFFECT
controls to control send level to the internal SPX effect processor while using AUX 2 to feed an external
effects unit, and AUX 1 to feed a stage monitor system.
Speaker B
Speaker A
(Parallel)
A
Yamaha Speaker Processing
493
You’ll undoubtedly want to use at least one pair of Yamaha Club-series speakers with the EMX5014C for
the superior sound and projection they provide. If you do you’ll really appreciate the enhanced low-end
output and high-end smoothness provided by built-in Yamaha speaker processing.
Rack Mountable
With the optional RK5014 rack-mount kit, the EMX5014C can be conveniently mounted in a portable or
installed rack. This has been made possible by a combination of the mixer’s configuration and a highly efficient
fan cooling system that ensures reliable, stable operation.
S112V
(C112V)
S112V
(C112V)
SM12V
(CM12V)
FRONT L
FRONT R
MONITOR
Experienced musicians, performers, speakers, and club operators know the importance of a
high-quality sound system with the right features and performance to deliver their sound.
Where portability and convenience are important criteria, a system based on a highperformance Yamaha EMX-series powered mixer is definitely the way to go. In one
integrated, portable unit you have a mixer to combine and balance your microphone,
instrument, and line sources, effects to refine and polish your sound, and power to
drive the main speakers and even monitor speakers as well. But that’s nowhere
Angled Cabinet
near the whole story – Yamaha EMX-series Powered Mixers offer a range of
for Easy Access
This thoughtful feature makes the control
features that let you mix, process, and deliver your sound with maximum quality
panel easy to see and access when the unit is
and creative control … and, of course, that unrivalled Yamaha sound.
placed on the floor.
Features For Superior Sound and Convenience
"COMP" CHARACTERISTICS
INPUT
Integrated Solutions for Superior Live Sound
"0"
"THRESHOLD"
= +20 - -10dBu
"10"
"RATIO" = 3 - 2.5
OUTPUT
SPX Digital Effects
2 Stereo inputs
Power Select Switch
500 W + 500 W (4Ω)
Standby Mode
3-band Channel EQ
YAMAHA Speaker Processing
7-band Stereo Graphic EQ
Lightweight Design
One-knob Compression
Angled Cabinet
FCL System
Rack Mountable
All four monaural mic/line channels on the EMX512SC and EMX312SC feature builtin compressors that can help to bring vocals to the front of the mix, give your guitars
extra smoothness and presence, deliver a more punchy bass sound, and generally
refine your mixes in a multitude of ways. These one-knob compressors are simple to
use, too. There’s no need to juggle multiple attack, threshold, makeup gain, and
other controls – just set the COMP control to the amount of compression you need.
Feedback Channel Locating (FCL) System
For larger venues and audiences, or if you plan to use it for outdoor
sound, the EMX512SC with a pair of whopping 500-watt amplifiers to
ensure that your music or message comes across with full impact.
Up To 8 Mics, 12 Inputs Total
Yamaha is a leader in the field of professional live sound for a very good reason: we deliver the
sound and performance that the pros demand. The EMX-series powered mixers are no exception.
They’re built at the same standards of sonic performance and rugged reliability that makes
Yamaha the first choice for live sound applications from schools to stadiums around the globe.
One-knob Compression on Mono Channels
(EMX512SC & EMX312SC)
"GAIN" = 0 - +9dB
"ATTACK" = 20ms
"RELEASE" = 250ms
Great Yamaha Sound
FCL System indicator LEDs at the top of each channel light if the corresponding
channel goes into feedback, so you won’t have to fumble around searching for the
channel that needs adjustment.
12 Inputs
All three mixers in this series offer a total of 12 input channels – four for monaural microphone (incl.
Phantom Power) or line input, plus four pairs that can function either as monaural microphone inputs or
stereo line inputs – providing you with a versatile mix of input capabilities for a wide range of
applications. If you need only microphone inputs you can use up to eight mic channels. Or if, for
example, you want to play recorded background music during breaks (that’s one stereo channel), and
you have a keyboard player with a stereo-output keyboard (that’s one more stereo channel), you still have
six mic/line inputs. If you use all four stereo pairs to handle stereo line sources you have four channels
available for mono mic or line input. This is a very versatile system that can adapt to your needs.
High Power For Main and Monitor Speakers
These powered mixers certainly don’t skimp on power. From the EMX212S with
200 watts per channel to the EMX512SC with a solid 500 watts per channel,
there’s a power configuration to suit any application and venue. All models also
feature a power mode switch that lets you use the two power channels as a
stereo amplifier, or you can use one of the channels for the main speaker(s) and
the other to drive monitors with a separate monitor mix set up via the channel
MONITOR controls.
If you need a little more power –300 watts +300 watts – and the added
advantage of one-knob compression on mono channels, the EMX312SC
may be the model you need.
Up To 8 Mics, 12 Inputs Total
SPX Digital Effects
2 Stereo inputs
Power Select Switch
300 W + 300 W (4Ω)
Standby Mode
3-band Channel EQ
YAMAHA Speaker Processing
7-band Stereo Graphic EQ
Lightweight Design
One-knob Compression
Angled Cabinet
FCL System
Rack Mountable
SPX DIGITAL
MULTI EFFECT
PROCESSOR
MONO
CHANNEL
STEREO
CHANNEL
SPX Digital Effects
The EMX212S, EMX312SC, and EMX512SC all feature a selection of 16 top-quality Yamaha SPX
effects – including reverb, echo, chorus, flanger, phaser, and even distortion – that can add the
final touch to your live presentation. Yamaha SPX digital effects are widely recognized as being
some of the finest available, and the effects provided in the EMX mixers live up to that reputation.
Built-in Graphic EQ
Graphic equalizers are provided for both the main and monitor channels, so you can effectively
control feedback or tailor the sound to the match the room and program material.
Stand-by Mode
When you're done with a set, simply engage the stand-by mode to mute all mono channels while
leaving the 2-track inputs active for background music playback while you're taking your break.
The lowest-powered model in the series offers a pair of 220-watt
amplifiers per channel that should be more than sufficient for small-tomedium size venues.
Up To 8 Mics, 12 Inputs Total
Power Select Switch
2 Stereo inputs
Standby Mode
220 W + 220 W (4Ω)
YAMAHA Speaker Processing
Yamaha Speaker Processing
Rear Panel
Dimensions
unit: mm
274
3-band Channel EQ
Lightweight Design
7-band Stereo Graphic EQ
Angled Cabinet
SPX Digital Effects
Rack Mountable
286
442
Yamaha Club-series speakers are fine performers in their
own right, but with Yamaha Speaker Processing you get
extra-smooth highs and enhanced low-frequency output.
Durable, Lightweight Design
The EMX powered mixers offer the ideal combination of
outstanding sound performance and easy handling.
They’re lightweight — only 8 kilograms (17.6 lbs.) — and
feature conveniently located handles for maximum carrying
comfort. They’re also built tough to withstand the rigors of
use on the road.
[-6dBu]
SUM
SUM
ST CH MIC
80
HA
CH7/8, 9/10
[0dBu]
L
9-Stage GEQ
[0dBu]
SUM
ST OUT
[+4dBu]
R
[0dBu]
9-Stage GEQ
FCL
[-30dBu ~ +14dBu]
[-60dBu ~ -16dBu]
SUM
[0dBu]
BA
PFL
YE
[0dBu]
[+4dBu]
BA
ST
SUM
8kHz
[-6dBu]
4kHz
AUX2
EFFECT
[-10dBu]
2kHz
PRE
ON
ST SUB OUT
R
10kHz
TH
[0dBu]
L/MONO
BA
GEQ ON
[0dBu]
1kHz
BA
[-6dBu]
BA
REC OUT
[-10dBV]
SUM
Lo Gain
Mid f
Mid Gain
Hi Gain
GAIN
[-60dBu~ -16dBu]
[-34dBu~ +10dBu]
INSERT I/O
[0dBu]
PFL
YE
HPF
AFL
[-10dBu]
HA
L (MONO)
[0dBu]
[0dBu]
3-Stage EQ
PAN/BAL
[0dBu]
BA
[0dBu]
CH7L, 9L
Hi
Lo
[-34dBu~
+10dBu]
Mid
RE
GAIN
ST CH LINE IN
[-34dBu ~ +10dBu]
AUX1(PRE)
PEAK
SIGNAL
ON
SUM
[-6dBu]
ST CH Fader
YE
PRE
SUM
AUX2
GR
[-6dBu]
3-Stage EQ
HA
R
[0dBu]
[0dBu]
SUM
AUX1
[-10dBu]
[0dBu]
AUX SEND1
BA
[+4dBu]
AFL
BA
CH8R, 10R
[-6dBu]
EFFECT
SUM
PFL
SUM
[0dBu]
[0dBu]
SUM
AUX2
[-10dBu]
[0dBu]
BA
AUX SEND2
[+4dBu]
AFL
[-10dBu]
[0dBu]
HA
L
[0dBu]
3-Stage EQ
[0dBu]
BA
BAL
[0dBu]
SUM
[-6dBu]
SUM
CH11L, 13L
RE
[-34dBu~ +10dBu]
AUX1(PRE)
PEAK
SIGNAL
Hi
GAIN
ST CH LINE
[-34dBu ~ +10dBu]
Lo
From the initial design to final
manufacturing, all production
processes for the Yamaha EMX
series Powered Mixers are
performed entirely inside the
company.
Moreover, every product that comes
off our production line must pass
strict quality controls using the
sophisticated test instruments. Thus,
all of this enables us to deliver the
highest quality products to you.
BA
AUX1(PRE)
Mid
—Manufacturing the electronic
instruments and PA products
3-Stage EQ
COMP
RE
[0dBu]
PAN
[0dBu]
HPF
26dB
P.T. Yamaha Music
manufacturing Asia
[-10dBu]
63Hz
[-60dBu ~ -16dBu] B
[-34dBu ~ +10dBu]
CH Fader
80
HA
ST SUB OUT
500Hz
GR
PAD
GAIN:10dB
[-6dBu]
STANDBY
250Hz
CH1-6
FCL
PEAK
SIGNAL
YE
RE
125Hz
+48V
RE
A
PFL L/AFL L
PFL R/AFL R
ST L(MUTE)
ST R(MUTE)
AUX 1(MUTE)
AUX 2(MUTE)
EFFECT (MUTE)
PHANTOM
CH INPUT
ST L(NON-MUTE)
ST R(NON-MUTE)
AUX 1(NON-MUTE)
AUX 2(NON-MUTE)
EFFECT (NON-MUTE)
EMX5014C Block and Level Diagram
ON
HA
R
PRE
SUM
[0dBu]
EFFECT SEND
BA
[+4dBu]
PHONES
[-16dBu]
[-6dBu]
AUX2
SUM
BA
3-Stage EQ
CH12R,14R
An Inter view with the EMX Design Team
[0dBu]
ST CH Fader
YE
GR
[0dBu]
[-6dBu]
EFFECT
SUM
[0dBu]
INV
PHONES
[3mW 40ohms]
[0dBu]
INV
LED METER
PFL
ST/AFL PFL
DR
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers
DR
FOOT SW
EFFECT ON/OFF
SIGNAL SELECT
IN
• In this particular case, the fact that we were able to use
internal heat-flow simulation and analysis was a huge
advantage. We were able to define an enclosure shape
on the computer, and then by analyzing the heat flow
while refining the heat
sink configuration we
were able to come to
within 80% or 90%
of the ideal final
design. The final
stages using physical
prototypes still relied
on trial and error.
CH INPUT (PAD ON)
GAIN Min. [+10dBu]
+10dB
Clip level
Clip level
ST CH LINE
GAIN Min. [+10dBu]
INSERT I/O [0dBu]
0dB
Clip level
ST SUB level control
ST CH MIC
[-16dBu]
• The final strength of the molded housings depends to
a large degree on how the molten resin is introduced
in the mold, and how it flows within the mold.
-30dB
CH fader [-10dBu]
CH & ST CH to AUX/EFFECT [-6dBu]
REC OUT [-10dBV]
-60dB
CH INPUT (PAD ON)
GAIN Max. [-34dBu]
ST CH LINE
GAIN Max. [-34dBu]
CH INPUT (PAD OFF)
GAIN Max. [-60dBu]
ST CH MIC
[-60dBu]
2
PHONES [-16dBu]
0dB
-20dB
-60dB
[-8dBu]
HA
3
PAD
[-26dBu]
[-26dBu]
COMP
MIC/LINE
TH
L
STA ND-BY
(CH1-8 MUTE)
[-8dBu]
BA
3-Stage EQ
MID
2
HIGH
1
+15V
FCL
EMX512SC/
EMX312SC
LEVEL
R
SUM
SUM
[-8dBu]
[-8dBu]
7-Stage GEQ
BA
L(MONO)
SUM
FCL
1
3
2
HA
[-26dBu]
[-26dBu]
SUM
[-8dBu]
BA
3-Stage EQ
SUM
SUM
[-8dBu]
[-8dBu]
7-Stage GEQ
MAIN
125kHz
250kHz
500kHz
1kHz
2kHz
4kHz
8kHz
[-26dBu]
CH INPUT
(CH5/6, 7/8)
REC OUT
[-10dBV]
[-8dBu]
[-8dBu]
EFFECT
MONITOR
MAIN OUT
[+4dBu]
Maximum
Output Power
BA
EMX512SC
EMX321SC
EMX212S
LEVEL
R
[-16dBu]
SUM
EFFECT
[-26dBu]
SUM
LINE R
[-20dBu]
MAIN (L+R)
SUM
FCL
HA
SUM
BA
3-Stage EQ
LIMITER
YSP
LINE L
[-20dBu]
[-26dBu]
SUM
BA
3-Stage EQ
MON
1
SPEAKERS
YSP
LIMITER
BA
ON
SUM
[-8dBu]
SUM
[-8dBu]
EFFECT RETURN to MAIN
EFFECT
ON
FOOT SW
(EFFECT ON/OFF)
DIGITAL EFFECT
LO
SUM
B: R/MONITOR
BA
MONITOR OUT
[+4dBu]
BA
EFFECT OUT
[-6dBu]
INV
[-8dBu]
DSP YMM757-VTZ(SWL01T)
CLOCK 16.9344MHz
RO
[-8dBu]
7-Stage GEQ
8kHz
SUM
4kHz
MONITOR
IN
2
1
[-8dBu]
[-34dBu]
• With SPX effects in all models in this EMX series,
plus compression and FCL, you can rely on a single
EMX powered mixer to deliver outstanding live
sound, especially in applications that use mostly
microphones.
A: L/MAIN(L+R)
2
LIMITER
[-16dBu]
EFFECT
LINE R
[-20dBu]
BA
ON
YSProcessing
MAIN R
2kHz
2
INV
[+1dBu] [+1dBu]
[-8dBu]
1kHz
3
[-26dBu]
500Hz
1
[-26dBu]
LIMITER
MAIN L
[-34dBu]
MONITOR
MIC
[-60dBu]
[500W 4ohms*2]
[300W 4ohms*2]
[200W 4ohms*2]
[-8dBu]
BA
3-Stage EQ
AMP MODE
LINE L/MONO
[-20dBu]
CH INPUT
(CH9/10, 11/12)
+20dB
-50dB
PHANTOM
EMX212S
MIC
[-60dBu]
+30dB
-30dB
EMX512SC, EMX312SC, EMX212S Block and Level Diagram
INPUT B
[-60/-30dBu]
CH INPUT
(CH1~4)
INPUT A
[-50/-20dBu]
+40dB
-70dB
* What measures have been taken to ensure optimum
sound quality?
• There’s a good description of compression and
its uses in the owner’s manual. We hope that our
users will take advantage of this very useful
feature.
B: R/MONO/AUX2
-40dB
-50dB
• Simplicity. Standard compression controls can be
very difficult to set quickly and accurately, but
we’ve managed to provide well-balanced threshold
and ratio settings that can be controlled by a single
knob. By focusing primarily on microphone
applications in which compression is applied to
vocals, acoustic guitar, or similar sources, greatsounding compression can be dialed in quickly and
easily.
PA
-10dB
ST, AUX fader [-10dBu]
-40dB
* Most compressors have at least two controls, what
is the idea behind having just one?
INV
(+35.2dBu)
SPEAKER OUT
MAXIMUM OUTPUT POWER [500W/4ohms]
[125W/4ohms]
(+29.2dBu)
[PHONES 3mW@40ohms]
-20dB
250Hz
• Achieving the ideal blend of size, weight, and
durability is quite difficult. As usual, demands from the
sales team continue to escalate while the hardware and
mechanics teams try to turn them into reality … without
ever reducing or compromising features or performance.
Computer simulation was called into play once again,
providing an accurate preview of the mold-flow
characteristics of the resin used for the box-type housings.
LIMITER
+10dB
[-6dBu]
Reliability Without Compromising
Performance
• An important idea implemented in the box-type
models is that they can be set at an angle like monitor
speakers. The integral handles are also an important
design feature, and achieving the required strength
was a constant problem.
2
RE
CH & ST CH to ST [0dBu](PAN,BAL Max.)
Clip level
CH INPUT (PAD OFF)
GAIN Min. [-16dBu]
-10dB
• Of course sound quality is first and foremost in
the design of any model. Achieving the lowest
possible noise and hum when changing
components is always a challenge. There’s
influence from vibration, from the current flowing
through the components themselves, and a simple
op-amp IC change can precipitate a large change
in sound. We often find ourselves using the best
components we can find rather than compromise
on sound quality. Even the FCL system has an effect
on the sound, and we were able to achieve a
dramatic improvement by simply eliminating a
single component from the circuit. Once again, the
final design depends on trial-and-error listening
tests while changing components.
A: L/AUX1/AUX1
PA
LIMITER
ST OUT, ST SUB OUT [+4dBu]
AUX SEND, EFFECT SEND [+4dBu]
125Hz
• Heat and high power output unavoidably go handin-hand. In this case we were also determined to
reduce weight, so the design, hardware, and
mechanics teams joined forces to pursue this goal.
Changing even a single component can alter the heat
profile enough to require a change in heat sink design,
and that change can cause a change in sound quality,
so the design process involves a lot of trial and error.
+20dB
Clip level
INV
[-8dBu]
[-34dBu]
EFFECT RETURN to MONITOR
MAIN L
MAIN R
MONITOR
EFFECT
MAIN L (NON-MUTE)
MAIN R (NON-MUTE)
MONITOR (NON-MUTE)
* Tell us about how you avoided heat problems in such
compact enclosures.
[-6dBu]
500W
200W
75W
ON
-70dB
• Simplicity was the main goal, particularly in the
console-type 5014C. We wanted to consolidate the
mixer controls, so the utility control section has been
clearly separated. We didn’t even want any handles to
be visible.
RE
1
YSP
+30dB
Achieving Pure Sound Quality
SPEAKERS
LIMITER
LIMITER
ST R
MONO
AUX2
+40dB
LEVEL
The Battle Against Heat
500W
200W
75W
1
0dBu=0.775V
0dBV=1V
• The hardware team wanted to increase the size of
the body by 30 millimeters, but our goals for a
streamlined, compact design were important enough
that we decided to find other ways to achieve the
desired performance.
* The simplicity and aesthetic appeal of the designs are
quite impressive. Tell us about the design concept.
POWER AMP
YE
ON
PFL
MID
• If you try to control feedback using the EMX graphic
equalizer, for example, you end up changing the
sound of the entire program. For this reason it is far
more effective to control it at the input, thus avoiding
degradation of the overall sound.
AUX2
YS Processing
YSP
INV
SUM
[-6dBu]
YE
HIGH
• Another important new feature is FCL (Feedback
Channel Location). This system detects feedback and
shows you which channel is causing the problem.
Some mixers from other manufacturers have indicators
in the graphic equalizer section that show the
feedback frequency, but indicating the problem
channel allows the feedback to be more effectively
controlled using channel EQ.
ST L
AUX1
AUX1
BA
BA
AUX1
ON
MID
• Although compression is used in most pro audio
applications, it has been a bit too difficult for beginners
to take full advantage of. That’s why we’ve streamlined
it down to the essentials and made it very easy to use.
PARAMETER
HIGH
• Most “box type” mixers have no insert connectors, so
there has really been no convenient way to use
compression with them. As a result, many users of this type
of powered mixer have never used compression, but we
wanted them to have that option in the new EMX series.
DIGITAL
EFFECT RO
(DSP)
PROGRAM (1-16)
LOW
• The main difference is built-in compression.
Compression is indispensable in almost all
professional recording and live-sound applications, but
we believe that this is the first time it has been built into
an analog live mixer.
• The strength of the integral handles was also
predicted using computer simulation, and as a
result, we have achieved strength comparable to
that of aluminum.
LOW
* What is the main difference compared to previous
EMX-series mixers?
• In the box-type 212C, 312SC, and 512SC, it was
easy to mount the fan away from the circuit board to
minimize degradation of the audio signal. But in the
console-type EMX5014C finding the ideal fan location
was extremely difficult. Since the fan must be located
near the input circuitry, special measures have been
taken to ensure that electronic and mechanical noise
from the fan do not affect sound quality, while at the
same time ensuring maximum heat extraction.
LOW
New Features
EFFECT RTN
[-10dBu]
LO
PROGRAM (1-16)
PARAMETER
SPEAKERS
Maximum Output Power
EMX512SC/312SC/212S
[500W/300W/200W 4ohms]
+30dBu
+40dBu
+30dBu
Clip Level
+20dBu
Clip Level
+10dBu
Clip Level
SPEAKERS
EMX512SC/312SC/212S
[125W/75W/50W 4ohms]
MAIN OUT [+4dBu],
0dBu
MAIN [-8dBu]
EFFECT (MONO) [-8dBu]
-10dBu
EFFECT (ST) [-16dBu]
-20dBu
INPUT A (LINE) [-20dBu]
-30dBu
INPUT B (LINE) [-30dBu]
LINE [-20dBu]
MONITOR (MONO) [-26dBu]
-40dBu
MONITOR (ST) [-34dBu]
MONITOR OUT [+4dBu]
EFFECT OUT [-6dBu]
RECT OUT [-10dBu]
+20dBu
+10dBu
0dBu
-10dBu
-20dBu
-30dBu
-40dBu
-50dBu
INPUT A (MIC) [-50dBu]
-50dBu
-60dBu
INPUT B (MIC) [-60dBu]
-60dBu
MIC [-60dBu]
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