EMX5016CF/EMX5014C EMX512SC/EMX312SC/EMX212S

POWERED MIXER
EMX5016CF/EMX5014C
EMX512SC/EMX312SC/EMX212S
For details please contact:
www.yamahaproaudio.com
Printed in Japan
LPA514
Serious Live Sound Capability Plus Innovative Digital Features
"COMP" CHARACTERISTICS
INPUT
The EMX5016CF delivers the convenience of an integrated powered mixer with
input capacity, flexible features, and solid sound that critical live sound
applications demand. It is remarkably compact and portable for a live sound
system with this much capability, but offers performance and reliability that will
satisfy the discerning professional user either on the road or in installed
applications. And thanks to leading Yamaha digital technology, the EMX5016CF
also includes a number of innovations that make it easier than ever to achieve
top-class sound in just about any venue. An impressive power output of 500
watts per channel means it can handle fairly large audiences, indoors or out.
The EMX5016CF goes considerably beyond the standard definition of
“powered mixer,” entering the realm of serious sound reinforcement.
"0"
"THRESHOLD"
= +20 - -10dBu
"10"
"RATIO" = 3 - 2.5
"GAIN" = 0 - +9dB
Versatile 16-Input Configuration Adapts to Varied Source Requirements
Other Pro-class Features
The EMX5016CF has a total of 16 input channels – eight for monaural microphone or line input plus four
stereo pairs. The stereo channel pairs can function either as monaural microphone inputs or stereo line inputs.
This system gives you extra microphone inputs if your sources are mostly microphones, or if you need to
handle more stereo sources the EMXCF will comfortably handle four pairs in addition to eight monaural
microphone or line inputs. Switchable phantom power is provided for all microphone inputs.
･ Gain controls and 26-dB pad switches allow optimum
level matching with just about any source.
Advanced Channel EQ
3-band EQ is available on all input channels, but extra versatility is provided on the eight 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,
providing significantly enhanced equalization potential.
Ample I/O for Expansion and Integration
"ATTACK" = 20ms
"RELEASE" = 250ms
OUTPUT
All you need to create a powerful, high-performance live sound system is the EMX5016CF, a pair of
speakers or two, and your sources. But it does feature a range of inputs and outputs that allow it to be
expanded with external gear or 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 monitor power and effects you’re likely to need built in, 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.
One-knob Compression On Mono Channels
Up To 12 Mics, 16 Inputs Total
The EMX5016CF features compressors on all monaural microphone/line channels that 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. These unique one-knob compressors are surprisingly
simple to use. There are no multiple attack, threshold, makeup gain, and other controls – just set the
COMP control to the amount of compression you need.
4 Stereo inputs
500 W + 500 W (4Ω)
Input Gain Trim and Pads
9-band Digital Graphic EQ with Presets & Memory
LPF
This advanced digital 9-band stereo graphic equalizer goes way beyond conventional analog types with a
refined control interface, instant-recall presets, and user memory locations. It also works with the console’s
innovative Frequency Response Correction system (see below) for unprecedented response-shaping
control. Of course you can manually adjust each band as required from scratch, but you can also use one of
the presets – VOCAL, DANCE, or SPEECH – as a starting point and edit from there. You also have three user
memories into which you can store your own EQ curves for instant recall whenever needed.
3-band Mid-sweep Channel EQ
One-knob Compression
PFL and AFL Monitoring
･ 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.
Dual AUX Sends
FRC (Frequency Response Correction) System
Dual SPX Processors
Setting a live sound system’s output equalizer to optimally match room response is normally a
complicated process requiring noise generators, calibrated microphones, real-time analyzers, and a
great deal of time and experience. The EMX5016CF handles the entire process automatically, using
either pink noise or a recorded music source you supply. To precisely match the system’s response to
the room you’re in all you need to do is set up a microphone in an appropriate location, connect it to
channel 1, press MEASURE/CORRECT once to make the measurement, and then again to automatically
set the graphic equalizer for optimized response. The EQ setting can then be stored in one of the user
memories for later recall if needed.
Feedback Suppressor
9-band Digital Graphic EQ
FRC System
Multi-band Maximizer
Maximum Power Switch
Automatic Feedback Suppression
Although the graphic equalizer can be used for feedback control, the EMX5016CF provides a Feedback
Suppressor system that is dedicated to the job. The Feedback Suppressor works by detecting feedback
frequencies on the stereo bus and applying precise notch filters to eliminate the feedback. The
Feedback Suppressor has an AUTO mode that automatically keeps track of and attenuates feedback
frequencies for you, and a sensitive manual mode that lets you pinpoint and attenuate feedback points
one by one.
Standby Mode
Power Amp Mode Switch
YAMAHA Speaker Processing
Lightweight Design
Multi-band “Maximizer”
Lightweight Design (11kg)
･ 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.).
*Optional Standard gooseneck lamp
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.
EMX5016CF
The EMX501CF “Maximizer” is an advanced 3-band compressor that can be applied to the stereo bus
for a more punchy “up-front” overall sound. Simply press the MAXIMIZE switch to instantly give the
mix more presence and impact without sacrificing musical subtlety.
Rack Mountable
*Optional RK5014
Lamp Connector
ST SUB OUT L/MONO
ST SUB OUT R
*Optional Standard gooseneck lamp
Dual Yamaha SPX Effect Processors
Dimensions
unit: mm
155
444
493
(440 excluding screw heads)
Rear Panel
The EMX5016CF includes not one but two top-performance Yamaha SPX digital effect processors built in! You
might only need ambience effects such as reverb and delay for live sound applications – and the EMX5016CF
includes some of the finest reverb and delay effects available – but if you need other effects as well they’re
right at your fingertips, and you can use two different effects simultaneously.
Each effect processor offers a selection of 16 top-quality effects including
reverb, echo, chorus, flanger, phaser, and even distortion, with editable
parameters that allow you to customize each effect.
Speaker A
B
Dual AUX Sends
AUX 1 and AUX 2 send controls with pre/post fader switching adjust the level of the channel signal sent to
the auxiliary buses for monitoring or external effects send. The availability 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.
S115V
(C115V)
S115V
(C115V)
MSR400
MSR400
FRONT L
FRONT L
MONITOR
MONITOR
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)
Input Gain Trim
Versatile 14-Input Configuration
One-knob Compression
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.
3-band Mid-sweep Channel EQ
LPF
FCL System
Dual AUX Sends
SPX Digital Effects
9-band Stereo Graphic EQ
PFL and AFL Monitoring
Power Select Switch
Standby Mode
Lightweight Design (10.5kg)
Rack Mountable
*Optional RK5014
• 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.
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.
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
• Power Amp mode selector allows twochannel power amplifier to be quickly
configured for Main + Main, Mono
+ Aux 1, or Aux 1 + Aux 2 operation.
Comprehensive I/O
SPX Digital Effects
Power Amp Mode Switch
• Limiter indicators tell you when the internal limiter circuitry
has been activated due to power amplifier overload.
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.
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
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.
Rack Mountable
*Optional RK512
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.
*Optional RK512
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
Lightweight Design
7-band Stereo Graphic EQ
Angled Cabinet
SPX Digital Effects
Rack Mountable
*Optional RK512
unit: mm
274
442
286
3-band Channel EQ
Dimensions
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.
+48V
RE
CH1-8
RE
PEAK
INPUT A
GR
80
PAD
INPUT B
HA
(CH Fader)
[-10dBu]
[0dBu]
BA
[0dBu]
BA
LOW
Mid f
COMP
(TH)
PAN
PRE
PRE
ON
[0dBu]
AUX1
SUM
AUX2
[-6dBu]
EFF 1
EFF 2
[-6dBu]
• 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.
• 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.
Reliability Without Compromising
Performance
• 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.
• 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.
• 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.
* The simplicity and aesthetic appeal of the designs are
quite impressive. Tell us about the design concept.
• 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.
[0dBu]
SUM
[0dBu]
ST L
A/D
DSP
D/A
ST OUT L
BA
L
SUM
Multi
Band
Comp.
[0dBu]
GEQ
+
FRC
FBS
ST
[0dBu]
SUM
[0dBu]
ST R
A/D
D/A
ST OUT R
ST OUT
[+4dBu]
BA
R
ST CH INPUT
CH9/10,11/12,13/14,15/16
MIC
[-30dBu~ +14dBu]
L
REC OUT
[-10dBV]
80
HA
R
PFL
HPF
AFL
INV
HA
[0dBu]
[0dBu]
3-Stage EQ
[-10dBu]
BA
ST CH LINE
INV
MID
LOW
RE
HIGH
GAIN
[-34dBu~
+10dBu]
ON
PEAK
SUM
PRE AUX2
3-Stage EQ
BA
R
EFF 1
[-6dBu]
EFF 2
[-6dBu]
SUM
SUM
SUM
FOOT1
D/A
EFF1 RTN
[-10dBu]
BA
SUM
EFFECT 1
D/A
ENC1 [A-D]
AUX1
[-6dBu]
INSERT[1]
AUX2
[-6dBu]
EFF1 ON
EFF1 LED
PFL
[0dBu]
SUM
A/D
EFFECT 2
AUX 1
[+4dBu]
[-10dBu]
[0dBu]
BA
AUX 2
[+4dBu]
[0dBu]
[0dBu]
SUM
[0dBu]
BA
EFF 1
[+4dBu]
[0dBu]
SEND
[0dBu]
SUM
SUM
[0dBu]
[0dBu]
BA
EFF 2
[+4dBu]
PHONES
[-16dBu]
PHASE
INV
PHONES
[3mW 40ohms]
SUM
A/D
BA
[0dBu]
BA
EFF 1 ON
YE
[0dBu]
INV
LAMP
[12V]
(AMP SIGNAL SELECT)
L
EFF IN 1
EFF IN 2
POWER AMP
500W
AUX1
AUX1
PROGRAM
• 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.
EFF1 OUT R
PARAMETER
PROGRAM
[-10dBu]
[0dBu]
AFL
SUM
EFF1 OUT L
SUM
AUX1
SUM
PFL
EFF1 ON/OFF
[0dBu]
AFL
[-6dBu]
CH10R,12R,14R,16R
[-34dBu~ +10dBu]
[0dBu]
AUX1
SUM
GR
HA
[0dBu]
[-6dBu]
(ST CH Fader)
YE
SIGNAL
PAN/BAL
PRE AUX1
[0dBu]
L
CH9L,11L,13L,15L
[-34dBu~ +10dBu]
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers
• 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.
SUM
SUM
An Inter view with the EMX Design Team
• 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.
[-10dBu]
[-6dBu]
FOOT2
• 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.
R
[0dBu]
[-6dBu]
PFL
YE
EFF2 ON/OFF
* What is the main difference compared to previous
EMX-series mixers?
ST SUB OUT
[+4dBu]
BA
[0dBu]
MID
HIGH
GAIN
[-60dBu~ -16dBu]
[-34dBu~ +10dBu]
INSERT
[-60dBu~ -16dBu]
New Features
L/MONO
ST SUB OUT
RE
HPF
26dB
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.
3-Stage EQ
COMP
[-60dBu~ -16dBu]
—Manufacturing the electronic
instruments and PA products
BA
STAND-BY
SIGNAL
[-60dBu~ -16dBu]
P.T. Yamaha Music
manufacturing Asia
[-6dBu]
PFL L/AFL L
PFL R/AFL R
ST L (MUTE)
ST R (MUTE)
AUX 1(MUTE)
AUX 2 (MUTE)
EFFECT1 (MUTE)
EFFECT2 (MUTE)
PHANTOM
CH INPUT
ST L (NON-MUTE)
ST R (NON-MUTE)
AUX 1 (NON-MUTE)
AUX 2 (NON-MUTE)
EFFECT1 (NON-MUTE)
EFFECT2 (NON-MUTE)
EMX5016CF Block and Level Diagram
YSP
ENC2 [A-D]
PARAMETER
INSERT[2]
EFF 2 ON
EFF2 ON
EFF2 LED
YE
D/A
EFF2 OUT L
EFF RTN
[-10dBu]
BA
SUM
D/A
200W
75W
ON
INV
[-6dBu]
AUX2
[-6dBu]
[500WMAX @ 4ohms]
LIMITER
PA
1
MONO
AUX2
YSP
500W
200W
75W
ON
LIMITER
INV
PA
ST
AFL/PFL
+10dBu
Clip level
Clip level
CH INPUT (PAD ON)
GAIN Min. [+10dBu]
DR
DR
Clip level
ST CH LINE
GAIN Min. [+10dBu]
SPEAKER OUT
(+35.2dBu)
MAXIMUM OUTPUT POWER [500W/4ohms]
[125W/4ohms]
(+29.2dBu)
CH INPUT (PAD OFF)
GAIN Min. [-16dBu]
ST CH MIC
[-16dBu]
Clip level
Clip level
ST CH IN
[-10dBu]
+10dB
0dB
ST SUB level control
[-6dBu]
CH & ST CH to AUX/EFFECT [-6dBu]
CH fader [-10dBu]
[PHONES 3mW@40ohms]
-10dB
REC OUT [-10dBV]
ST, AUX fader [-10dBu]
PHONES [-16dBu]
CH INPUT (PAD ON)
GAIN Max. [-34dBu]
-20dB
ST CH LINE
GAIN Max. [-34dBu]
-30dB
-40dB
-40dBu
-50dBu
-60dBu
CH INPUT (PAD OFF)
GAIN Max. [-60dBu]
-50dB
ST CH MIC
[-60dBu]
-60dB
-70dB
-70dBu
• 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.
+30dB
CH & ST CH to ST [0dBu] (PAN,BAL Max.)
-20dBu
-30dBu
+40dB
+20dB
ST OUT, ST SUB OUT [+4dBu]
AUX SEND, EFFECT SEND [+4dBu]
INSERT I/O [0dBu]
0dBu
-10dBu
R
MONO B
AUX2
ST
AFL/PFL
+30dBu
* What measures have been taken to ensure optimum
sound quality?
2
1
0dBu=0.775V
0dBV=1V
A
(LED METER)
(METER SELECT)
+20dBu
L
AUX1
AUX1
RE
PFL
+40dBu
Achieving Pure Sound Quality
2
LIMITER
R
BA
AUX1
SPEAKERS
RE
YS PROCESSING
YE
EFF2 OUT R
LIMITER
EMX5016CF Specifications
GENERAL SPECIFICATION
INPUT CHARACTERISTICS
EMX5016CF
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
20Hz-20kHz, ref to the 1kHz output level, GAIN=MIN, PAD=OFF
Total Harmonic Distortion
PAD
-16 dB
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)
CH INPUT A 1-8
+10 dB
-60 dB
0dB
-16 dB
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
Effect On/Off
50-600 Ω
Mics
3 kΩ
-34 dB
26dB
CH INPUT B 1-8
Phantom Voltage
Foot Switch
For Use With
Nominal
0dB
Hum & Noise
L/R, AUX1/MONO, AUX1/2
Actual Load
Impedance
-60 dB
Less than 0.3 % (THD+N)
+14dBu output into 600 Ω @ 20 Hz-20 kHz
Power Amp. Mode
GAIN
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
10 kΩ
600 Ω
Lines
3 kΩ
50-600 Ω
Mics
10 kΩ
600 Ω
Lines
10 kΩ
600 Ω
Lines
-34 dB
26dB
+10 dB
-60 dB
ST CH MIC INPUT
9/10-15/16
—
ST CH LINE INPUT
9/10-15/16
—
CH INSERT IN
(1-8)
—
-16 dB
-34 dB
+10 dB
—
*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.)
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)
-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)
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
(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
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.
All level controls are nominal, when measured. Output impedance of signal generator: 150 Ω
OUTPUT CHARACTERISTICS
Rack Mount Adaptor RK5014
The EMX5016CF can be rack-mounted using an
optional rack-mounting kit for optimum
integration with any system or installation.
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
EFF SEND 1, 2
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
CH INSERT OUT 1-8
600 Ω
10 kΩ Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
Phone Jack *2
REC OUT [L, R]
600 Ω
10 kΩ Lines
-10 dBV (316 mV)
+10 dBV (3.16 V)
RCA Pin Jack
PHONES [L, R]
100 Ω
40 Ω Lines
3mW
75mW
Phone Jack (TRS)
SPEAKERS
0.1 Ω
4 Ω Speakers
125W
500W
SPEAKON
Phone Jack *2
Output Terminals
Connector
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
Specifications and appearance suject to change without notice.
All trademarks and registered trademarks are property of their respective owners.
EMX512SC, EMX312SC, EMX212S Block and Level Diagram
[+4dBu]
MIC
[-60dBu]
[0dBu]
AUX1
[-10dBu]
[0dBu]
SUM
[+4dBu]
[-6dBu]
EFFECT
PFL
SUM
[0dBu]
AUX2
[-10dBu]
[0dBu]
BA
L
HA
[0dBu]
[0dBu]
3-Stage EQ
[0dBu]
BA
BAL
[0dBu]
SUM
[-6dBu]
SUM
CH11L, 13L
Lo
[-34dBu~ +10dBu]
PEAK
SIGNAL
Hi
GAIN
ST CH LINE
[-34dBu ~ +10dBu]
Mid
RE
GR
R
HA
AUX1(PRE)
[+4dBu]
ON
[0dBu]
PRE
[0dBu]
SUM
BA
CH12R,14R
[-6dBu]
EFFECT
SUM
HA
[-26dBu]
SUM
LINE L
[-20dBu]
ST/AFL PFL
DIGITAL EFFECT
FOOT SW
(EFFECT ON/OFF)
LO
PARAMETER
ON
EFFECT RTN
[-10dBu]
ST L
AUX1
AUX1
SUM
500W
200W
75W
ON
RE
2
YSP
[-6dBu]
ON
Clip level
CH INPUT (PAD ON)
GAIN Min. [+10dBu]
Clip level
Clip level
ST CH LINE
GAIN Min. [+10dBu]
INV
PA
2
ST SUB level control
ST CH MIC
[-16dBu]
CH fader [-10dBu]
CH & ST CH to AUX/EFFECT [-6dBu]
REC OUT [-10dBV]
[PHONES 3mW@40ohms]
ST, AUX fader [-10dBu]
PHONES [-16dBu]
CH INPUT (PAD ON)
GAIN Max. [-34dBu]
-60dB
+40dB
+30dB
MAIN
Clip Level
ST CH LINE
GAIN Max. [-34dBu]
CH INPUT (PAD OFF)
GAIN Max. [-60dBu]
+40dBu
MAIN [-8dBu]
EFFECT (MONO) [-8dBu]
-20dBu
INPUT A (LINE) [-20dBu]
-30dBu
INPUT B (LINE) [-30dBu]
-10dB
-40dBu
+20dBu
+10dBu
MONITOR OUT [+4dBu]
0dBu
EFFECT OUT [-6dBu]
-10dBu
RECT OUT [-10dBu]
EFFECT (ST) [-16dBu]
0dB
-30dB
SPEAKERS
EMX512SC/312SC/212S
[125W/75W/50W 4ohms]
MAIN OUT [+4dBu],
-10dBu
-40dB
LINE [-20dBu]
-20dBu
MONITOR (MONO) [-26dBu]
-30dBu
MONITOR (ST) [-34dBu]
-40dBu
-50dBu
INPUT A (MIC) [-50dBu]
-50dBu
-60dBu
INPUT B (MIC) [-60dBu]
-60dBu
MIC [-60dBu]
-50dB
ST CH MIC
[-60dBu]
-60dB
-70dB
-70dB
EMX512SC, EMX312SC, EMX212S Specifications
EMX5014C Specifications
GENERAL SPECIFICATION
GENERAL SPECIFICATION
INPUT CHARACTERISTICS
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
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, 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
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
+10 dB
-60 dB
0dB
-16 dB
CH INPUT B 1-6
600 Ω
Lines
10 kΩ
-34 dB
26dB
+10 dB
EQ
HIGH (10 k, Shelving), MID (mono: 250-5 k, st: 2.5 k, Peaking), LOW (100, Shelving)
Phantom Voltage
48 V
-60 dB
—
3 kΩ
50-600 Ω
Mics
10 kΩ
600 Ω
Lines
10 kΩ
600 Ω
Lines
-16 dB
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
ST CH INPUT
7/8-9/10
-34 dB
—
+10 dB
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
Clip Level
0dBu
-20dB
-40dB
-50dB
SPEAKERS
Maximum Output Power
EMX512SC/312SC/212S
[500W/300W/200W 4ohms]
+30dBu
Clip Level
+20dBu
+10dB
[-6dBu]
-20dB
-30dB
EFFECT OUT
[-6dBu]
+30dBu
+20dB
CH & ST CH to ST [0dBu](PAN,BAL Max.)
Clip level
CH INPUT (PAD OFF)
GAIN Min. [-16dBu]
Clip level
(+35.2dBu)
SPEAKER OUT
MAXIMUM OUTPUT POWER [500W/4ohms]
[125W/4ohms]
(+29.2dBu)
ST OUT, ST SUB OUT [+4dBu]
AUX SEND, EFFECT SEND [+4dBu]
INSERT I/O [0dBu]
0dB
-10dB
[-8dBu]
+10dBu
+30dB
+10dB
BA
INV
INV
B: R/MONO/AUX2
PFL
+40dB
+20dB
MONITOR OUT
[+4dBu]
RE
LIMITER
2
B: R/MONITOR
BA
1
500W
200W
75W
1
0dBu=0.775V
0dBV=1V
[-8dBu]
7-Stage GEQ
LIMITER
ST R
MONO
AUX2
BA
[-34dBu]
PARAMETER
A: L/AUX1/AUX1
PA
LIMITER
INV
[-6dBu]
YE
AUX2
YE
YSP
BA
BA
AUX1
[-8dBu]
[-8dBu]
SUM
PROGRAM (1-16)
SPEAKERS
LIMITER
LIMITER
ON
EFFECT RETURN to MONITOR
DR
DIGITAL
EFFECT RO
(DSP)
SUM
[-8dBu]
LO
DSP YMM757-VTZ(SWL01T)
CLOCK 16.9344MHz
RO
EFFECT
ON
POWER AMP
YSP
1
SUM
EFFECT RETURN to MAIN
IN
YS Processing
SPEAKERS
[-34dBu]
LED METER
SIGNAL SELECT
1
LIMITER
[-8dBu]
BA
3-Stage EQ
A: L/MAIN(L+R)
2
BA
ON
YSProcessing
MON
EFFECT
[-26dBu]
SUM
PHONES
FOOT SW
EFFECT ON/OFF
LIMITER
YSP
[-16dBu]
MONITOR
DR
IN
INV
[+1dBu] [+1dBu]
[-8dBu]
BA
3-Stage EQ
[500W 4ohms*2]
[300W 4ohms*2]
[200W 4ohms*2]
LIMITER
MAIN L
MAIN (L+R)
SUM
MAIN R
INV
PFL
PROGRAM (1-16)
LEVEL
MID
LOW
3
[-26dBu]
[3mW 40ohms]
[0dBu]
EMX512SC
EMX321SC
EMX212S
[-8dBu]
BA
3-Stage EQ
SUM
INV
Maximum
Output Power
BA
SUM
PHONES
[-16dBu]
[-6dBu]
AUX2
[-8dBu]
7-Stage GEQ
[+4dBu]
ST CH Fader
YE
3-Stage EQ
[-8dBu]
[-16dBu]
EFFECT SEND
BA
SUM
FCL
2
LINE R
[-20dBu]
SUM
SUM
[-34dBu]
CH INPUT
(CH9/10, 11/12)
AUX SEND2
[0dBu]
[0dBu]
[-26dBu]
SUM
1
SUM
[-8dBu]
BA
3-Stage EQ
EFFECT
MIC
[-60dBu]
[0dBu]
AFL
[-10dBu]
[-26dBu]
SUM
MONITOR
CH8R, 10R
SUM
L(MONO)
MAIN OUT
[+4dBu]
R
LINE R
[-20dBu]
AUX SEND1
BA
AFL
BA
BA
8kHz
3-Stage EQ
HA
R
[-26dBu]
4kHz
[-6dBu]
HA
2kHz
SUM
AUX2
2
LINE L/MONO
[-20dBu]
[0dBu]
SUM
1kHz
PRE
[-8dBu]
7-Stage GEQ
500Hz
ST CH Fader
[-8dBu]
250Hz
ON
YE
GR
3
REC OUT
[-10dBV]
[-8dBu]
MAIN L
MAIN R
MONITOR
EFFECT
MAIN L (NON-MUTE)
MAIN R (NON-MUTE)
MONITOR (NON-MUTE)
PEAK
SIGNAL
SUM
SUM
FCL
1
CH INPUT
(CH5/6, 7/8)
[0dBu]
[-6dBu]
SUM
[-26dBu]
MONITOR
LEVEL
Hi
Lo
[-34dBu~
+10dBu]
Mid
GAIN
ST CH LINE IN
[-34dBu ~ +10dBu]
EFFECT
HIGH
PAN/BAL
AUX1(PRE)
R
[-8dBu]
LEVEL
9-Stage GEQ
MID
[0dBu]
BA
CH7L, 9L
RE
BA
3-Stage EQ
LOW
[0dBu]
3-Stage EQ
TH
R
[0dBu]
SUM
PFL
YE
[0dBu]
HA
COMP
MIC/LINE
[-8dBu]
125kHz
250kHz
500kHz
1kHz
2kHz
4kHz
8kHz
[0dBu]
AFL
L (MONO)
PAD
[-26dBu]
BA
HPF
[-10dBu]
HA
3
[-26dBu]
AMP MODE
ST OUT
2
MID
L
1
HIGH
80
HA
CH7/8, 9/10
BA
9-Stage GEQ
FCL
[-30dBu ~ +14dBu]
ST CH MIC
[-10dBu]
[0dBu]
[0dBu]
STA ND-BY
(CH1-8 MUTE)
FCL
EMX512SC/
EMX312SC
125Hz
SUM
SUM
[-60dBu ~ -16dBu]
SUM
ST
PFL
YE
[0dBu]
INPUT B
[-60/-30dBu]
CH INPUT
(CH1~4)
INPUT A
[-50/-20dBu]
L
+15V
PHANTOM
EMX212S
[+4dBu]
LOW
SUM
8kHz
[-6dBu]
4kHz
[-6dBu]
ST SUB OUT
R
HIGH
[-6dBu]
AUX2
EFFECT
[-8dBu]
L/MONO
BA
GEQ ON
[0dBu]
2kHz
BA
PRE
ON
[0dBu]
BA
REC OUT
[-10dBV]
SUM
AUX1(PRE)
GAIN
[-60dBu~ -16dBu]
[-34dBu~ +10dBu]
RE
[0dBu]
10kHz
TH
BA
HPF
26dB
INSERT I/O
[0dBu]
PAN
[0dBu]
1kHz
3-Stage EQ
[-10dBu]
63Hz
COMP
Lo Gain
Mid f
Mid Gain
Hi Gain
[-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
U/C: 120 V 60 Hz, 450 W
H: 230 V 50 Hz, 450 W
BS: 240 V 50 Hz, 450 W
-34 dB
ST CH INPUT
11/12-13/14
—
CH INSERT IN
(1-6)
—
+10 dB
—
600 Ω
Lines
10 kΩ
*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)
XLR-3-31 type *3
Phone Jack *4
XLR-3-31 type *3
Phone Jack *5
EMX312SC
EMX212S
Maximum Output Power
@ 0.5 % THD at 1 kHz
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
-3, 0, 1 dB
20 Hz-20 kHz, ref to the nominal output level @ 1 kHz
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
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
RCA Pin Jack
Dimensions (W x D x H)
442 x 274 x 286 mm (17-3/8" x 10-3/4" x 11-1/4")
Phone Jack *5
Weight
8 kg (17.6 lbs.)
For Use With
Nominal
Output Level
Nominal
Max. Before Clip
—
Max. Before Clip
-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
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
Pin
—
10 kΩ
600 Ω
Lines
-20 dBu
(69.0 mV)
+5 dBu
(1.38 V)
+25 dBu
(13.8 V)
RCA Pin Jack
*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.
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
Connector
Rack Mount Adaptor RK5014
ST OUT [L, R]
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
Rack Mount Adaptor RK512
The EMX5014C can be rack-mounted using an
optional rack-mounting kit for optimum
integration with any system or installation.
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
All models in this series can be rack-mounted using an optional rackmounting kit for optimum integration with any system or installation.
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
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
XLR
Position
-60 dBu
(0.69 mV)
OUTPUT CHARACTERISTICS
*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.
Actual Source
Impedance
CH INPUT
5/6, 7/8
Input Level
Sensitivity *2
2 kΩ
LINE
LINE
15 V
Power Requirements/Consumption
XLR
For Use With
Nominal
MIC
HIGH (10 k, Shelving), MID (2.5 k, Peaking), LOW (100, Shelving)
Effect On/Off
Actual Load
Impedance
MIC
Phone
Phantom Voltage
Foot Switch
MIC/LINE
CH INPUT 1-4
EQ
Power Amp. Mode
*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.
Input Terminals
CH INPUT
9/10, 11/12
Phone Jack *5
OUTPUT CHARACTERISTICS
Output Terminals
INPUT CHARACTERISTICS
EMX512SC
Connector
Actual Source
Impedance
Output Level
For Use With
Nominal
EMX512SC
SPEAKER OUT
[A1, A2, B1, B2]
0.1 Ω
4 Ω Speakers
Nominal
Max. Before Clip
125 W
500 W
EMX312SC
75 W
300 W
EMX212S
50 W
200 W
Connector
[A1, B1] SPEAKON
[A2, B2] Phone Jack *2
MAIN OUT [L, R]
600 Ω
10 kΩ Lines
—
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack *2
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
REC OUT [L, R]
600 Ω
10 kΩ Lines
—
-10 dBV (316 mV)
+10 dBV (3.16 V)
RCA Pin Jack
*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.
Specifications and appearance suject to change without notice.
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