YAMAHA EMX5016CF/EMX5014C EMX512SC/EMX312SC/EMX212S Power Mixer User Guide

YAMAHA EMX5016CF/EMX5014C EMX512SC/EMX312SC/EMX212S Power Mixer User

Guide

Serious Live Sound Capability Plus Innovative Digital Features

Other Pro-class Features

• Gain controls and 26-dB pad switches allow optimum level matching with just about any source.

• 80-Hz high pass filters for elimination of unwanted lowfrequency noise and rumble.

• Channel ON switches let you switch individual channels into or out of the mix.

• 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, EFF1 RTN and EFF2 RTN faders with PFL (pre-fader listen) switches on the effect returns and AFL (after-fader listen) monitor switches on the auxiliary returns.

• Stereo master fader with both PFL and AFL monitor switches.

• Yamaha Speaker Processing delivers enhanced lows and high-end smoothness with Yamaha Club-series speakers.

• Limiter indicators tell you when the internal limiter circuitry has been activated due to power amplifier overload.

• Power Amp mode selector allows two-channel power amplifier to be quickly configured for Main + Main, Mono + Aux 1, or Aux 1 + Aux 2 operation.

• 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.

• Phones jack with independent level control.

• High-quality SPEAKON speaker connectors for fast, reliable connection.

• Rack mountable with the optional RK5014 rack-mount kit.

• Console lamp connector accepts standard 3-pin XLR-connector gooseneck lamp (12 volts DC, 5 watts max.).

System Example

500-watt Mains and Dual Monitors In this basic system the EMX5016CF speaker outputs drive S115V speakers for solid front-of-house sound,
while the sub-stereo outputs are connected to MSR400 powered speakers for stage monitoring.

Other Pro-class Features

• Gain controls and 26-dB pad switches allow optimum level matching with just about any source.

• 80-Hz high pass filters for elimination of unwanted lowfrequency noise and rumble.

• Channel ON switches let you switch individual channels into or out of the mix.

• 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.

• 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.

• 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.

• Phones jack with independent level control.

• High-quality SPEAKON speaker connectors for fast, reliable connection. Phone jack connectors are also provided.

System Example

500-watt Mains and Monitor In this basic system the EMX5014C 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.

Integrated Solutions for Superior Live Sound

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 near the whole story – Yamaha EMX-series Powered Mixers offer a range of features that let you mix, process, and deliver your sound with maximum quality and creative control … and, of course, that unrivalled Yamaha sound.

An Interview with the EMX Design Team

New Features

• What is the main difference compared to previous EMX-series mixers?

  • 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.

  • 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.

  • 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.

  • 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.

  • 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. The Battle Against Heat * Tell us about how you avoided heat problems in such compact enclosures.

  • 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.

  • 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.

• 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 EMX5016CF and 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.

• 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. Reliability Without Compromising Performance  * The simplicity and aesthetic appeal of the designs are quite impressive. Tell us about the design concept.

• Simplicity was the main goal, particularly in the console-type 5016CF and 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.

• 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.

• 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.

• 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.

• 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.

Achieving Pure Sound Quality

• What measures have been taken to ensure optimum sound quality?

  • 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.

  • 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. * Most compressors have at least two controls, what is the idea behind having just one?

  • 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.

  • 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.

EMX5016CF Block and Level Diagram

EMX5016CF Specifications
GENERAL SPECIFICATION

350 W/8 L (UA)

320 W/8 L (H)

Frequency Response| -3, 0, 1 dB

20Hz-20kHz, ref to the 1kHz output level, GAIN=MIN, PAD=OFF

Total Harmonic Distortion| Less than 0.3 % (THD+N)

+14dBu output into 600 L @ 20 Hz-20 kHz

Hum & Noise| Equivalent Input Noise, -128 dBu, GAIN=MAX, 20 Hz-20 kHz, CH1-8 MIC
Crosstalk @ 1 kHz| -68 dB
Input Connectors| CH 1-8: XLR and Phone

CH 9/10-15/16: XLR. Phone and Pin

CHANNEL EQ| CH 1-8: HIGH (10 k, Shelving), MID (mono: 250-5 k, st: 2.5 k, Peaking), LOW (100, Shelving) CH 9/10-15/16: HIGH (10 k, Shelving), MID (st: 2.5 k, Peaking), LOW (100, Shelving)
Phantom Voltage| 48 V
Digital Graphic Equalizer| 9 Band (63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k, 16 kHz), Preset x 3, User preset x 3
Digital Effects| SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs x 2
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| 11 kg (24.2 lbs.)
Power Requirements/Consumption| 120 V 60 Hz, 500W

220-240 V 50 Hz, 500W

INPUT CHARACTERISTICS

Input Terminals

|

PAD

|

GAIN

| Actual Load Impedance| For Use With Nominal| Input Level|

Connector

---|---|---|---|---|---|---
Sensitivity *2| Position| Max. Before Clip

CH INPUT A 1-8

|

0dB

| -60 dB|

3 kL

|

50-600 L

Mics

| -80 dBu

(0.078 mV)

| -60 dBu

(0.775 mV)

| -40 dBu

(7.75 mV)

|

XLR-3-31 type *3

-16 dB| -36 dBu

(12.3 mV)

| -16 dBu

(123 mV)

| +4 dBu

(1.23 V)

26dB

| -34 dB| -54 dBu

(1.55 mV)

| -34 dBu

(15.5 mV)

| -14 dBu

(155 mV)

+10 dB| -10 dBu

(245 mV)

| +10 dBu

(2.45 V)

| +30 dBu

(24.5 V)

CH INPUT B 1-8

|

0dB

| -60 dB|

10 kL

|

600 L

Lines

| -80 dBu

(0.078 mV)

| -60 dBu

(0.775 mV)

| -40 dBu

(7.75 V)

|

Phone Jack *4

-16 dB| -36 dBu

(12.3 mV)

| -16 dBu

(123 mV)

| +4 dBu

(1.23 V)

26dB

| -34 dB| -54 dBu

(1.55 mV)

| -34 dBu

(15.5 mV)

| -14 dBu

(155 mV)

+10 dB| -10 dBu

(245 mV)

| +10 dBu (2.45V)| +30 dBu

(24.5 V)

ST CH MIC INPUT 9/10-15/16

|

—

| -60 dB|

3 kL

| 50-600 L

Mics

| -80 dBu

(0.078 mV)

| -60 dBu

(0.775 mV)

| -40 dBu)

(7.75 mV

|

XLR-3-31 type *3

-16 dB| -36 dBu

(12.3 mV)

| -16 dBu

(123 mV)

| -10 dBu

(245 mV)

ST CH LINE INPUT 9/10-15/16

|

—

| -34 dB|

10 kL

| 600 L

Lines

| -54 dBu

(1.55 mV)

| -34 dBu

(15.5 mV)

| -14 dBu (155mV)| Phone Jack *5 RCA Pin Jack
+10 dB| -10 dBu

(245 mV)

| +10 dBu

(2.45 V)

| +30 dBu

(24.5 V)

CH INSERT IN (1-8)| —| —| 10 kL| 600 L

Lines

| -20 dBu

(77.5 mV)

| 0 dBu

(0.775 V)

| +20 dBu

(7.75 V)

| Phone Jack *5

OUTPUT CHARACTERISTICS

Output Terminals

| Actual Source Impedance| For Use With Nominal| Output Level|

Connector

---|---|---|---|---
Nominal| Max. Before Clip
ST OUT [L, R]| 150 L| 600 L Lines| +4 dBu (1.23 V)| +20 dBu (7.75 V)| Phone Jack 2
ST SUB OUT [L, R]| 150 L| 600 L Lines| +4 dBu (1.23 V)| +20 dBu (7.75 V)| Phone Jack 2
AUX SEND 1, 2| 150 L| 600 L Lines| +4 dBu (1.23 V)| +20 dBu (7.75 V)| Phone Jack 2
EFF SEND 1, 2| 150 L| 600 L Lines| +4 dBu (1.23 V)| +20 dBu (7.75 V)| Phone Jack 2
CH INSERT OUT 1-8| 600 L| 10 kL Lines| 0 dBu (0.775 V)| +20 dBu (7.75 V)| Phone Jack *2
REC OUT [L, R]| 600 L| 10 kL Lines| -10 dBV (316 mV)| +10 dBV (3.16 V)| RCA Pin Jack
PHONES [L, R]| 100 L| 40 L Lines| 3mW| 75mW| Phone Jack (TRS)
SPEAKERS| 0.1 L| 4 L Speakers| 125W| 500W| SPEAKON

Phone Jack *2

EMX5014C Block and Level Diagram

EMX512SC, EMX312SC, EMX212S Block and Level Diagram

EMX512SC, EMX312SC, EMX212S Specifications

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