Yamaha EMX 212S Omistajan opas

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Malli: EMX 212S

Kategoria: Supplementary music equipment

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POWERED MIXER

Owner’s Manual

Making the Most of Your Mixer

Pages 13 to 19

Quick Guide

Pages 6 to 12

EMX512SC/EMX312SC/EMX212S

The above warning is located on the rear of the unit.

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.

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.

IMPORTANT SAFETY INSTRUCTIONS

1 Read these instructions.

2Keep these instructions.

3 Heed all warnings.

4 Follow all instructions.

5 Do not use this apparatus near water.

6 Clean only with dry cloth.

7 Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8 Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including

ampliﬁers) that produce heat.

9 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.

10 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 Only use attachments/accessories speciﬁed by the

manufacturer.

12 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.

13 Unplug this apparatus during

lightning storms or when unused for long periods of

time.

14 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.

(98-6500)

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.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

WARNING

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.

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.

EMX512SC/EMX312SC/EMX212S

(5)-4

2/3

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:

• 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 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.

• 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 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.

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:

• 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.

• Before moving the device, remove all connected cables.

• When setting up the product, 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 product 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.

• Do not use the device in a conﬁned, poorly-ventilated location. If this device is

to be used in a small space other than an EIA-standard rack, make sure that there

is adequate space between the device and surrounding walls or other devices: at

least 10 cm at the sides, 25 cm behind and 15 cm above. 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.

• Do not block the vents. This device has ventilation holes at the rear and side 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.

• 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.

• Do not use speaker cables with a metal-housing connector. Doing so may result

in electrical shock due to differences in voltage. Use speaker cables with a non-

metal-housing connector, or with a insulated-housing connector.

• 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 device 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.

Power supply/Power cord

Do not open

Water warning

If you notice any abnormality

Power supply/Power cord

Location

Connections

Handling caution

EMX512SC/EMX312SC/EMX212S

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 qualiﬁed Yamaha service

personnel about replacing defective components.

About this Manual

This manual is divided into two main sections, as follows.

■ Mixer Basics (starts on page 6)

Presents a general explanation of mixers and mixer concepts. Includes a Quick Guide that will help beginners get up to speed very quickly.

■ EMX Setup and Operation (starts on page 20)

Provides detailed information about the EMX. Introduces the EMX features, identiﬁes and explains the controls, indicators, and connec-

tors; and explains how to set up the equipment.

* This manual applies to models EMX512SC, EMX312SC, and EMX212SC. Within this manual, the term “EMX” is used to refer to all three of these models.

* 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.

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.

Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the device.

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.

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 termi-

nals 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)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions con-

tained 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” digi-

tal devices. Compliance with these requirements provides a rea-

sonable 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 fre-

quencies and, if not installed and used according to the instruc-

tions found in the users manual, may cause interference harmful to

the operation of other electronic devices. Compliance with FCC

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

regulations does not guarantee that interference will not occur in all

installations. If this product is found to be the source of interfer-

ence, 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 con-

tact 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.

FCC INFORMATION (U.S.A.)

EMX512SC/EMX312SC/EMX212S

Thank you for your purchase of this Yamaha EMX512SC, EMX312SC, or EMX212S power 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.

■ Basic

Quick Guide 6

Before Turning On the Mixer........................................ 6

Getting Sound to the Speakers.................................... 7

Adding Some Reverb................................................. 11

Using the Compressors to Enhance Vocals .............. 12

Making the Most of Your Mixer 13

A Place for Everything and Everything in its Place .... 13

A Plethora of Connectors—What Goes Where? ... 13

Balanced, Unbalanced—What’s the Difference? .. 14

Signal Levels and the Decibel.................................... 15

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 ........................................................ 18

Compression........................................................ 18

■ Reference

Controls and Connectors 20

Controls on Each Channel ......................................... 20

Digital Effects Section ................................................ 22

MAIN Section ............................................................. 23

MONITOR Section ..................................................... 24

POWER Section ........................................................ 25

Rear Panel ................................................................. 26

Connecting Speakers 27

Horizontal Orientation, Tilting and

Rack Mounting 28

Horizontal Orientation ................................................ 28

Tilting ......................................................................... 29

Rack Mounting ........................................................... 29

Setting Up 30

Troubleshooting 31

Specifications 32

Input Channels..................................... page 20

The EMX offers four monoaural mic/line input channels (1

to 4) and four stereo input channel pairs (5/6 to 11/12),

allowing you to freely mix inputs from microphones, line-

level devices, and stereo devices. For example, you can

mix four microphones with four stereo devices, or seven

microphones with one stereo synthesizer.

Phantom Power (+15V)........................ page 25

A single switch turns phantom power on to all mic inputs.

Use this feature to provide power to condenser microphones.

High-Quality Digital Effects ................ page 22

The mixer’s internal effector 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 EFFECT OUT jack to connect to an external

effector of your choice.

MAIN and MONITOR Outputs ............. page 23

The mixer offers excellent independent control of main and

monitor output. The top panel offers separate main and

monitor outputs, while the POWER AMP switch can be

used to set the SPEAKERS jacks so that they output either

the main signal to both speakers or else the main signal to

one speaker and the monitor signal to the other. Separate

MASTER control knobs and 7-segment graphic equalizers

are also provided.

Compressors (EMX512SC and

EMX312SC only) .................................. page 21

Compressors on channels 1 to 4 can be used to squeeze

the dynamic range of inputs such as microphones and

acoustic guitars, attenuating the higher levels and bringing

out the lower ones. This feature helps reduce distortion and

allows overall volume to be set higher, resulting in a stron-

ger and more impressive sound.

Tilt Setup or Rack Mount ................... page 29

The EMX can be positioned at an angle or mounted in a

rack, allowing for easy accessibility in a wide variety of set-

ups.

Internal Power Amp ............................. page 25

The internal amp makes it possible to connect the SPEAK-

ERS jacks directly to non-powered 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.

Contents Features

BASIC

EMX512SC/EMX312SC/EMX212S

Quick Guide

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 LEVEL and MASTER knobs are set to the “0” position.

1 Push the POWER switch in to turn the power ON.

The power lamp lights up to indicate that power is on. To turn the power off, push the switch again, so that it

pops out.

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.

Quick Guide

BASIC

EMX512SC/EMX312SC/EMX212S

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.

1 Connect up the speakers and your input devices

(microphones, instruments, etc.)

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 con-

nect your input devices (microphones, guitar, etc.) to the appropriate input jacks

on the top panel. For details, see page 30.

RIGHT WRONG!!

Getting Sound to the Speakers

2,8

2,7,9

NOTE

We recommend that you do not

connect 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.

Before connecting input

devices to the EMX, be sure

that all of these devices (includ-

ing 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.

Neglect of these precautions

may result in large noise bursts

that may damage your equip-

ment, your ears, or both.

Never connect both A and B

jacks to a single speaker. Con-

nection of both jacks to the

same speaker may result in

damage to the mixer.

EMX512SC/EMX312SC/EMX212S

Quick Guide

BASIC

2 Turn the LEVEL knobs and the MASTER knobs to 0.

3 Set the POWER AMP switch to its upper position

(to MAIN L-R).

For information about this switch, see page 25.

This position

Quick Guide

BASIC

EMX512SC/EMX312SC/EMX212S

4 If you have connected input devices to channels 1 to 4, set

the LINE/MIC switch 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 LINE position ( ). If you have connected a

microphone or other mic-level device, set the switch to the MIC position ( ).

5 If you are using one or more condenser microphones for

your inputs, set the PHANTOM switch to the ON position

().

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.

• Be sure to leave this switch

off if you do not need phan-

tom power.

• When using phantom power,

do not connect any devices

other than condenser micro-

phones to the XLR input

jacks. Other devices may be

damaged if connected to

phantom power. This precau-

tion does not apply to bal-

anced dynamic microphones,

however, as these will not be

affected by phantom power.

• Before turning the PHAN-

TOM switch ON or OFF, be

sure to turn off the power to

the mixer and to all other

devices having internal

ampliﬁers. It is also recom-

mended that you set both

MASTER knobs to their “0”

position. Neglect of these

precautions may result in

damage to speakers, to other

equipment, or to your ears.

EMX512SC/EMX312SC/EMX212S

Quick Guide

BASIC

7 Turn the MASTER knob in the MAIN section to the posi-

tion.

8 Adjust the LEVEL knobs for all occupied channels.

For each input device you have connected: Generate sound from the device

while adjusting the corresponding channel’s LEVEL knob. Adjust so that the

LEVEL meter occasionally reaches the “0” level.

9 Now turn the MASTER knob in the MAIN section again

as necessary to adjust the overall output level.

This position

It is acceptable for the LIMITER

lamps to ﬂash on brieﬂy at

times, but if they remain lit con-

tinuously then there is risk of

damage to your speakers or to

the internal amp. Reduce the

MASTER knob setting so that

these lamps do not stay on.

Quick Guide

BASIC

EMX512SC/EMX312SC/EMX212S

Now let’s try adding some reverb to your input. The reverb effects

let you simulate the sound of different performance environ-

ments—such as concert halls and small clubs.

1 Turn the ON switch to it’s ON position.

This switch turns the internal effector on and off. The lamp lights up orange to

indicate that the effector is on. As an alternative to the ON switch, you can use a

separately sold FC5 foot switch to toggle the effector on and off.

2 Turn the PROGRAM dial to select the desired effect type;

To select a reverb effect, turn the dial to any value from 1 to 7.

3 Use the channel EFFECT knobs to adjust the effect

depth for each channel.

Adding Some Reverb

REVERB HALL 1

KARAOKE ECHO

REVERB HALL 2

VOCAL ECHO

REVERB ROOM 1

CHORUS 1

REVERB ROOM 2

CHORUS 2

REVERB STAGE 1

FLANGER

REVERB STAGE 2

PHASER

REVERB PLATE

AUTO WAH

DRUM AMBIENCE

DISTORTION

EMX512SC/EMX312SC/EMX212S

Quick Guide

BASIC

4 Use the MAIN section’s EFFECT RTN knob 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 will adjust

the reverb time.

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.

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 lead to howling. For more information

about the compressors, see pages 18 and 21.

Using the Compressors to Enhance Vocals

(EMX512SC and EMX312SC only)

BASIC

EMX512SC/EMX312SC/EMX212S

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 line-level 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.

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.

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-

White

Red

Stereo/TRS phone plug

Mono phone plug

Male

Female

EMX512SC/EMX312SC/EMX212S

Making the Most of Your Mixer

BASIC

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.

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.

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.

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.

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?

Hot

Cold

Shield

(Ground)

Outer

Insulation

Balanced Unbalanced

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.

Balanced noise cancellation

Noise

Hot (+)

Cold (–)

Ground

Source Cable

Noise cancelled

Noise-free signal

Phase

inversion

Receiving device

Making the Most of Your Mixer

EMX512SC/EMX312SC/EMX212S

BASIC

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.

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?

Unbalanced noise

Noise

Source Cable Receiving device

+ 20 dBu

0 dBu

0.775 V

20 dBu

40 dBu

60 dBu

The inputs and outputs on home-use audio gear

usually have a nominal level of –10 dBu.

Most professional mixers, power amplifiers, and other

types of equipment have inputs and outputs with a

nominal level of +4 dBu.

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.

EMX512SC/EMX312SC/EMX212S

Making the Most of Your Mixer

BASIC

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.

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

For example: cymbals have a lot

of energy in the mid and low

frequency ranges that you don’t

really perceive as musical sound,

but which can interfere with the

clarity of other instruments in

these ranges. You can basically

turn the low EQ on cymbal

channels all the way down without

changing the way they sound in

the mix. You’ll hear the difference,

however, in the way the mix

sounds more “spacious,” and

instruments in the lower ranges

will have better definition.

Surprisingly enough, piano also

20 50 100 200 500 1 k 2 k 5 k 10 k 20 k

(

)

Piano

Bass Drum

Snare Drum

Bass

Guitar

Trombone

Tr umpet

Cymba

Fundamental: The frequency that determines the basic musical pitch.

The fundamental and harmonic frequency ranges of some

musical instruments.

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.

The frequencies controlled by the LOW, MID, and HIGH bands

on this mixer have been specifically selected to provide the most

“musical” range of adjustment with the widest possible range of

instruments (100Hz, 2,500 Hz, and 10,000 Hz, respectively).

Harmonics: Multiples of the fundamental frequency that play a role in

determining the timbre of the instrument.

Making the Most of Your Mixer

EMX512SC/EMX312SC/EMX212S

BASIC

has an incredibly powerful low

end that can benefit from a bit of

low-frequency roll-off to let other

instruments—notably drums and

bass—do their jobs more

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.

Boost with Caution

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.

Ambience

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).

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.

Reverb Level

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

Signal

Level (dB)

Frequency (Hz)

LOW Boost

LOW Flat

LOW Cut

MID Boost

MID Flat

HIGH Boost

HIGH Flat

HIGH Cut

MID Cut

EMX512SC/EMX312SC/EMX212S

Making the Most of Your Mixer

BASIC

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.

The Modulation

Effects: Phasing,

Chorus, and Flanging

All of these effects work on

basically the same principle: a

portion of the audio signal is

“time-shifted” 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 other-

worldly sonic swoops.

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.

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

OUTPUT

INPUT

(Min)

(Max)

Making the Most of Your Mixer

EMX512SC/EMX312SC/EMX212S

BASIC

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.

Controls and Connectors

EMX512SC/EMX312SC/EMX212S

Controls and Connectors

Controls on Each Channel

1 FCL (Feedback Channel Locating) lamp

This lamp is used during setup to identify any channel

that might be howling. Check these lamps when setting

up for a performance. If the lamp lights up, adjust the

channels equalizer 2 or level knob 5 to reduce the

level so that the lamp goes off.

Input of a continuous sound (as from a CD player or

vocal) may cause the lamp to come on even in the

absence of howling.

2 Equalizer (HIGH, MID, and LOW)

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. Turning the

knob to the right boosts the corresponding frequency

band, while turning to the left attenuates the band. The

following table shows the equalization type, the base fre-

quency, and the maximum cut/boost for each of the three

bands.

3 MONITOR control

Adjusts the level of the signal sent from the channel into

the MONITOR bus. If input is from a stereo channel pair

(5/6, 7/8, 9/10, or 11/12), the signals from the L and R

channels are mixed before moving into the bus. The

MONITOR bus signal is output at the MONITOR OUT

jack O, and may also be output from the SPEAKERS A

jacks V (depending on the setting of the POWER AMP

switch R).

The channel’s LEVEL knob 5 has no effect on the

level of the signal sent into the MONITOR bus.

4 EFFECT knob

Adjusts the level of the signal sent from the channel into

the EFFECT bus. If input is from a stereo channel pair

(5/6, 7/8, 9/10, or 11/12), the signals from the L and R

channels are mixed before moving into the bus. The

EFFECT bus signal is fed both to the internal digital

effector and to the EFFECT OUT jack C.

The channel’s LEVEL knob 5 also affects the level

of the channel’s signal into the EFFECT bus.

5 LEVEL knob

Adjusts the signal’s output level. Use these knobs to

adjust the volume balance among the various channels.

To reduce noise, set the knobs for unused channels to

“0”.

Channels

5/6 and 7/8

(Stereo)

Channels

9/10 and 11/12

(Stereo)

Channels

1 to 4

(Monaural)

Band Type Base Frequency Maximum Cut/Boost

HIGH Shelving 10 kHz

±15 dBMID Peaking 2.5 kHz

LOW Shelving 100 Hz

NOTE

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