Yamaha EMX212S Brochure & Specs - page 5
Specifications and appearance suject to change without notice.
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EMX5016CF Specifications
The EMX5016CF can be rack-mounted using an
optional rack-mounting kit for optimum
integration with any system or installation.
OUTPUT CHARACTERISTICS
*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.)
*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.
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
Output Terminals
Actual Source
For Use With
Output Level
Connector
Impedance
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 k
Ω
Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
Phone Jack *2
REC OUT [L, R]
600
Ω
10 k
Ω
Lines
-10 dBV (316 mV)
+10 dBV (3.16 V)
RCA Pin Jack
PHONES [L, R]
100
Ω
40
Ω
Lines
3mW
75mW
Phone Jack (TRS)
SPEAKERS
0.1
Ω
4
Ω
Speakers
125W
500W
SPEAKON
Phone Jack *2
Input Terminals
PAD
GAIN
Actual Load
For Use With
Input Level
Connector
Impedance
Nominal
Sensitivity *2
Position
Max. Before Clip
-60 dB
-80 dBu
-60 dBu
-40 dBu
0dB
(0.078 mV)
(0.775 mV)
(7.75 mV)
-16 dB
-36 dBu
-16 dBu
+4 dBu
50-600
Ω
(12.3 mV)
(123 mV)
(1.23 V)
CH INPUT A 1-8
-34 dB
3 k
Ω
Mics
-54 dBu
-34 dBu
-14 dBu
XLR-3-31 type *3
26dB
(1.55 mV)
(15.5 mV)
(155 mV)
+10 dB
-10 dBu
+10 dBu
+30 dBu
(245 mV)
(2.45 V)
(24.5 V)
-60 dB
-80 dBu
-60 dBu
-40 dBu
0dB
(0.078 mV)
(0.775 mV)
(7.75 V)
-16 dB
-36 dBu
-16 dBu
+4 dBu
600
Ω
(12.3 mV)
(123 mV)
(1.23 V)
CH INPUT B 1-8
-34 dB
10 k
Ω
Lines
-54 dBu
-34 dBu
-14 dBu
Phone Jack *4
26dB
(1.55 mV)
(15.5 mV)
(155 mV)
+10 dB
-10 dBu
+10 dBu
+30 dBu
(245 mV)
(2.45V)
(24.5 V)
-60 dB
-80 dBu
-60 dBu
-40 dBu
ST CH MIC INPUT
50-600
Ω
(0.078 mV)
(0.775 mV)
(7.75 mV)
9/10-15/16
—
-16 dB
3 k
Ω
Mics
-36 dBu
-16 dBu
-10 dBu
XLR-3-31 type *3
(12.3 mV)
(123 mV)
(245 mV)
-34 dB
-54 dBu
-34 dBu
-14 dBu
ST CH LINE INPUT
600
Ω
(1.55 mV)
(15.5 mV)
(155mV)
Phone Jack *5
9/10-15/16
—
+10 dB
10 k
Ω
Lines
-10 dBu
+10 dBu
+30 dBu
RCA Pin Jack
(245 mV)
(2.45 V)
(24.5 V)
CH INSERT IN
—
—
10 k
Ω
600
Ω
-20 dBu
0 dBu
+20 dBu
(1-8)
Lines
(77.5 mV)
(0.775 V)
(7.75 V)
Phone Jack *5
INPUT CHARACTERISTICS
EMX5016CF
Maximum Output Power
500 W/4
Ω
@ 0.5 % THD at 1 kHz
350 W/8
Ω
(UA)
320 W/8
Ω
(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
Ω
@ 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
GENERAL SPECIFICATION
All level controls are nominal, when measured. Output impedance of signal generator: 150
Ω
Rack Mount Adaptor RK5014
EMX5016CF Block and Level Diagram
PAD
HA
HPF
LOW
MID
HIGH
3-Stage EQ
Mid f
BA
COMP
(TH)
COMP
HA
BA
HA
HA
LOW
MID
HIGH
3-Stage EQ
3-Stage EQ
BA
BA
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
BA
BA
BA
BA
DR
DR
SUM
BA
SUM
BA
SUM
SUM
INV
INV
YSP
ON
YSP
ON
PA
L
AUX1
AUX1
PA
R
MONO
AUX2
LIMITER
CH INPUT
CH1-8
INSERT
ST CH LINE
26dB
GAIN
[-60dBu~ -16dBu]
[-34dBu~ +10dBu]
+48V
PHANTOM
PEAK
SIGNAL
80
INPUT A
GAIN
[-34dBu~
+10dBu]
PEAK
SIGNAL
ON
ON
EFF 1 ON
(CH Fader)
(ST CH Fader)
PAN
EFF 1
AUX1
AUX2
PRE
PFL
EFF 1
PRE
PFL
AUX1
AUX2
AUX1
AUX2
PFL
PAN/BAL
EFF1 RTN
PROGRAM
PARAMETER
EFF1 ON/OFF
ST L (MUTE)
ST R (MUTE)
EFFECT2 (MUTE)
AUX 1(MUTE)
AUX 2 (MUTE)
ST L (NON-MUTE)
ST R (NON-MUTE)
EFFECT2 (NON-MUTE)
AUX 1 (NON-MUTE)
AUX 2 (NON-MUTE)
PFL L/AFL L
PFL R/AFL R
PFL
AFL
AFL
STAND-BY
ST SUB OUT
[+4dBu]
L/MONO
R
ST OUT
[+4dBu]
L
R
AUX 2
[+4dBu]
EFF 1
[+4dBu]
PHONES
[3mW 40ohms]
L
R
AUX1
AUX2
AUX1
MONO
POWER AMP
500W
500W
200W
200W
75W
75W
LIMITER
LIMITER
SPEAKERS
[500WMAX @ 4ohms]
[0dBu]
[-10dBu]
[0dBu]
[0dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[-10dBu]
[-6dBu]
[-6dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[-6dBu]
[-10dBu]
[-10dBu]
[-16dBu]
PHONES
PHASE
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
YS PROCESSING
(AMP SIGNAL SELECT)
ST SUB OUT
ST
AUX1
[0dBu]
[0dBu]
[0dBu]
[-10dBu]
[0dBu]
BA
BA
SUM
INV
[-30dBu~ +14dBu]
SUM
HPF
80
(METER SELECT)
0dBu
+10dBu
+20dBu
+30dBu
+40dBu
-10dBu
-20dBu
-30dBu
-40dBu
-50dBu
-60dBu
-70dBu
0dB
+10dB
+20dB
+30dB
+40dB
-10dB
-20dB
-30dB
-40dB
-50dB
-60dB
-70dB
CH INPUT (PAD ON)
GAIN Min. [+10dBu]
CH INPUT (PAD OFF)
GAIN Min. [-16dBu]
CH INPUT (PAD ON)
GAIN Max. [-34dBu]
CH INPUT (PAD OFF)
GAIN Max. [-60dBu]
INSERT I/O [0dBu]
CH fader [-10dBu]
CH & ST CH to ST [0dBu] (PAN,BAL Max.)
CH & ST CH to AUX/EFFECT [-6dBu]
REC OUT [-10dBV]
ST SUB level control [-6dBu]
ST, AUX fader [-10dBu]
ST OUT, ST SUB OUT [+4dBu]
AUX SEND, EFFECT SEND [+4dBu]
PHONES [-16dBu]
[PHONES 3mW@40ohms]
SPEAKER OUT
MAXIMUM OUTPUT POWER [500W/4ohms]
[125W/4ohms]
(+35.2dBu)
(+29.2dBu)
ST CH MIC
[-60dBu]
ST CH LINE
GAIN Max. [-34dBu]
ST CH MIC
[-16dBu]
ST CH LINE
GAIN Min. [+10dBu]
[-60dBu~ -16dBu]
[-60dBu~ -16dBu]
[-34dBu~ +10dBu]
[0dBu]
LIMITER
EFF IN 1
(LED METER)
RE
RE
YE
RE
YE
RE
GR
RE
GR
YE
YE
RE
Clip level
Clip level
ST CH IN
[-10dBu]
Clip level
Clip level
Clip level
0dBu=0.775V
0dBV=1V
EFF 2
[-6dBu]
EFFECT1 (MUTE)
EFFECT1 (NON-MUTE)
SUM
SUM
BA
[+4dBu]
[0dBu]
[0dBu]
[0dBu]
SUM
AUX1
AUX2
PFL
EFF RTN
[-10dBu]
[-6dBu]
[-6dBu]
BA
BA
PROGRAM
PARAMETER
YE
EFF2 OUT L
EFF IN 2
EFF 2
[-6dBu]
PRE
PRE
A/D
FOOT1
D/A
D/A
D/A
D/A
A/D
ST
AFL/PFL
ST L
ST R
ST OUT L
ST OUT R
D/A
A/D
D/A
A/D
EFF2 OUT R
EFF1 OUT L
EFF1 OUT R
EFF1 LED
EFF2 LED
EFF1 ON
EFF2 ON
FOOT2
ENC1 [A-D]
ENC2 [A-D]
INSERT[2]
INSERT[1]
EFF2 ON/OFF
EFFECT 1
EFFECT 2
EFF 2 ON
INPUT B
[-60dBu~ -16dBu]
ST CH INPUT
MIC
CH9/10,11/12,13/14,15/16
CH9L,11L,13L,15L
CH10R,12R,14R,16R
[-34dBu~ +10dBu]
SEND
EFF 2
ST
AFL/PFL
1
2
LAMP
[12V]
INV
REC OUT
[-10dBV]
L
R
SUM
SUM
SUM
BA
AFL
AUX 1
[+4dBu]
[0dBu]
[-10dBu]
[0dBu]
[0dBu]
AUX1
DSP
INV
INV
L
R
A
B
1
2
Multi
Band
Comp.
FBS
GEQ
+
FRC
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers
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 hand-
in-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, great-
sounding 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.
P.T. Yamaha Music
manufacturing Asia
—Manufacturing the electronic
instruments and PA products
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.
An Inter view with the EMX Design Team