POWERED MIXER EMX5016CF Owner's Manual

Reference
Front & Rear Panels
Controls on Each Channel

(Figure)
Channels 1 to 8 (Monaural)
Channels 9/10 to 15/16 (Stereo)

1	INPUT A and INPUT B Jacks (Channels 1 to 8)
You can connect an input source to either jack. Be sure to set the [26 dB] switch 4 to match the type of device you are connecting.

INPUT A:	A balanced XLR-type microphone input jack (1:Ground; 2:Hot; 3:Cold). If you are connecting a condenser microphone, be sure to turn the PHANTOM switch 43 to its ON position.

(Figure)
Cold (-)
Ground
Hot (+)

INPUT B:	A TRS phone-type balanced line input jack (T: hot, R: cold, S: ground). Accepts both balanced and unbalanced line input.

(Figure)
R: Cold (-)
S: Ground
T: Hot (+)

CAUTION
When using phantom power, do not connect any devices other than condenser microphones to the XLR input jacks. Other devices may be damaged if connected to phantom power. This precaution does not apply to balanced dynamic microphones, however, as these will not be affected by phantom power.

NOTE
On any given channel, you may use either INPUT A or INPUT B, but not both. Please connect to only either of these jacks on each channel.

2	LINE/MIC Jacks (Channels 9/10 to 15/16)
These jacks accept stereo inputs and mic inputs. Use these to connect up stereo output devices, such as stereo synthesizers and CD players, and microphones.

LINE jacks:	Unbalanced stereo inputs. Each channel pair have phone jacks and RCA pin jacks.

MIC jack:	XLR balanced mic-level input jack. If you are connecting a condenser microphone, be sure to turn the PHANTOM switch 43 to its ON position.

CAUTION
When using phantom power, do not connect any devices other than condenser microphones to the XLR input jacks. Other devices may be damaged if connected to phantom power. This precaution does not apply to balanced dynamic microphones, however, as these will not be affected by phantom power.

NOTE
If you wish, you may use the channel pair's LINE and MIC jacks together at the same time. But note that the levels cannot be adjusted independently.

(Figure)
Channels 1 to 8 (Monaural)
Channels 9/10 to 15/16 (Stereo)

3	INSERT I/O Jack (Channels 1 to 8)
Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (1 to 8). You can use these jacks to connect channels to devices such as graphic equalizers, compressors, and noise filters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation.

NOTE
Connection to an INSERT I/O jack requires a special separately-sold insertion cable-such as the Yamaha YIC025, YIC050, or YIC070-as shown below.

(Figure)
To the INSERT I/O jack
Sleeve (Ground)
Ring :IN
Tip:OUT
To the input jack of the external processor
Tip:OUT
To the output jack of the external processor
Tip:IN

4	[26 dB] Switch (Channels 1 to 8)
Pressing this button turns on the attenuator for each channel, attenuating the input signal level by 26 dB.
If you have connected a line-level device, such as a keyboard or audio device, set the channel's switch to ON. If you have connected a microphone or other mic-level device, set the switch to OFF.

5	GAIN Control
Adjusts the gain applied to the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain so that the PEAK indicator 14 comes on only at about maximum input level. The -60 to -16 scale indicates the MIC input adjustment level. The -34 to 10 scale indicates the LINE input adjustment level.

6	High Pass Filter Switch
Switches the high pass filter on/off. To turn the HPF on, press this switch in. The HPF cuts frequencies below 80 Hz. (But note that regardless of the switch setting, the mixer does not apply this HPF to the line inputs of stereo input channels.)

7	COMP knob (Channels 1 to 8)
This knob adjusts the level of compression applied to the channel. As the knob is turned to the right, the mixer automatically raises the compression ratio while adjusting the output gain accordingly. The result is a narrower, more even dynamic range, as louder signals are softened while the overall level is boosted. Avoid setting the knob too high, however, as excess compression may lead to howling.

8	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 for the corresponding frequency band. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band.
On channels 1 to 8, the MID range is controlled by two knobs. The upper knob sets the center frequency for the mid range, while the lower knob sets the attenuation (counterclockwise) or boost (clockwise) for the range. (Again, setting the lower knob to produces a flat response.) On stereo channel pairs 9/10 to 15/16 the mid-range frequency is fixed at 2.5kHz, so only one MID knob is provided.
The following table shows the equalization type, the base frequency, and the maximum cut/boost for each of the three bands.

(Table)
Band	Type	Base Frequency	Maximum Cut/Boost
HIGH	Shelving	10 kHz	+-15 dB
MID	Peaking	250 Hz to 5 kHz variable (CHs 1 to 8)
		2.5 kHz (CHs 9/10 to 15/16)	
LOW	Shelving	100 Hz	
(Table End)

9	AUX1/2 Knobs (PRE/POST)
Each knob adjusts the channel's signal level into the AUX1/2 bus. The knob should generally be set close to the position. Note that you can use the PRE switch 10 to choose whether the pre-fader or post-fader signal is fed into the AUX1/2 buses. On stereo channels, the L (odd) and R (even) input signals are mixed before being sent to the AUX1/2 buses.

NOTE
If the PRE switch is on, the channel's fader will not have any effect on the signal sent to the AUX1/2 buses.

10	PRE Switch
Selects whether the pre-fader or the post-fader signal is fed to the AUX1/2 buses. If the switch is on, the mixer feeds the pre-fader signal to the buses. If off, the mixer feeds the post-fader signal.

11	EFF1/2 Knobs
Each knob adjust the level of the signal sent from the channel to the EFFECT1/2 bus. If input is from a stereo channel pair (9/10 to 15/16), the signals from the L and R channels are mixed before moving into the buses. The EFFECT1/2 bus signal is fed both to the internal digital effector and to the SEND EFF1/2 jack 18.

NOTE
The level into the EFFECT1/2 buses is affected by the setting of the channel's fader 17.

12	PAN Control (Channels 1 to 8);  BAL Control (Channels 9/10 to 15/16)
The PAN control determines the positioning of the channel's signal on the Stereo L and R buses.
The BAL control sets the balance between left and right channels. Signals into the L input (odd channel) feed to the Stereo L bus; signals into the R input (even channel) feed to the Stereo R bus.

NOTE
If you are inputting to a stereo channel through the L (MONO) jack only, the BAL knob operates as a PAN knob.

13	ON Switch
Switches the channel on or off. (The indicator lights up if the channel is on.) Be sure to turn on all the channels that you wish to use. If you switch the channel off, you cut off all of its signal feed into the Stereo, AUX, and EFFECT buses.

NOTE
To reduce noise, turn off all unused channels.

14	PEAK Indicator
Detects the peak level of the post-equalizer signal, and lights up red when the level reaches 3 dB below the clipping level.

15	SIGNAL Indicator
Lights up when a signal is being input into the channel.

16	PFL (Pre-Fader Listen) Switch
Set this switch on to feed the channel's pre-fader signal into the PFL bus, so that it can be monitored at the PHONES jack. To set the switch on, press it in so that it lights up.

NOTE
PFL switching and output are not affected by the ON switch. You can monitor the channel's pre-fader signal through the PHONES jack even when the ON switch is set off.
The PFL (16, 23, 49) and AFL 50 switches select the mix to be monitored at the PHONES jack. If the channel's PFL or AFL switch is ON, the channel's output is mixed into the monitor signal to the PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack.

17	Channel Fader
Adjusts the signal's output level. Use these faders to adjust the volume balance among the various channels.

NOTE
To reduce noise, set the fader sliders for unused channels all the way down.

Digital Effects Section

18	SEND Jacks
EFF1, EFF2
These unbalanced phone output jacks output the signal from the EFFECT1/2 buses. You use these jacks, for example, to connect to an external effector. You can then return the signal by connecting the external effector to any of the LINE jacks on channel pairs 9/10 to 15/16.

CAUTION
If you are returning a signal from an external effector into a LINE jack on any channel pair 9/10 to 15/16, please be sure to turn the EFF1/2 knob for that channel pair to "0".

AUX1, AUX2
These unbalanced phone jacks output monaural monitor signals from the AUX1 and AUX2 buses, respectively. You use these jacks, for example, to connect to an effector or to a cue box or other such monitoring system.

19	PROGRAM Dials
These let you select the type of effect from 16 different types for EFFECT 1 and EFFECT 2. For details on each of the effect types, refer to page 37.

20	PARAMETER Knobs
Each knob adjust the parameter (depth, speed, etc.) associated with the selected effect type.

NOTE
The mixer saves the last value used with each effect type. When you change to a different effect type, the mixer automatically restores the value that was previously used with that type (regardless of the current position of the PARAMETER knob).

21	AUX1/2 Knobs
Each knob adjusts the level of the effected sound into the corresponding AUX1 and AUX2 buses.

22	EFF1/2 ON Switches/Indicators
Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on. To set the switch on, press it in so that it lights up.
As an alternative to the ON switch, you can use a separately sold FC5 foot switch to toggle the effector on and off.

NOTE
The On/Off status of the internal effects will be retained, even when you turn off the mixer's power.

23	PFL (Pre-Fader Listen) Switches
Set this switch on to feed the signal from the internal digital effect signal (pre the EFF1/2 RTN faders) into the PFL bus, so that it can be monitored at the PHONES jack.

NOTE
The signal will not feed into the PFL bus if the effect's ON switch is turned off.
The PFL (16, 23, 49) and AFL 50 switches select the mix to be monitored at the PHONES jack. If the channel's PFL or AFL switch is ON, the channel's output is mixed into the monitor signal to the PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack. 

24	EFF1/2 RTN Faders
Adjusts the level of the effected sound into the Stereo bus.

Master Section

25	ST SUB OUT Jacks
These unbalanced phone jacks output the mixed stereo signal (L and R), where the level is adjusted by the ST SUB OUT control 47. You would typically use these jacks to connect to an external mixer or a supplementary SR system.

26	REC OUT Jacks
These RCA pin-type unbalanced output jacks can be used to send the main stereo signal to an external DAT recorder or cassette recorder. The jacks output the stereo signal pre adjustment by the ST master fader 52 and graphic equalizer 33. As the signal is not adjusted by these controls, please be sure to make appropriate level adjustments at the external recording device side. 

27	EFF1/2 ON/OFF Jacks
These phone input jacks are for connection to a separately sold FC5 foot switch. The foot switch can be used as an alternative to the ON switch to toggle the effector on and off.

28	ST OUT Jacks
These unbalanced phone jacks output the mixed stereo signal (L and R), where the level is adjusted by the ST master fader 52. You would typically connect these jacks to a power amp or powered speakers. 

29	PHONES Jack
Connector for headphones. This is a balanced stereo phone-type output jack.

30	LAMP Jack
This XLR 3 pin-type output jack is for connection to an optional lamp.

NOTE
Supported lamps: 12 V (AC or DC), max. 5 W. Power of 12 V is supplied between pins 2 and 3. Pin 1 is not connected.

31	GEQ (Graphic Equalizer) display
Indicates the GEQ settings. This 9-band GEQ adjusts the frequency characteristics of the stereo-bus signal output at the ST OUT jacks 28, ST SUB OUT jacks 25, and SPEAKERS jacks 53.

32	GEQ +/- Switches
These switches boost or cut the gain of each frequency band by +-12 dB. The central frequencies for the bands are: 63, 125, 250, 500, 1k, 2k, 4k, 8k and 16k Hz. The adjustable gain values are: 0dB, +-1.5dB, +-3dB, +-4.5dB, +-6dB, +-9dB and +-12dB. For intermediate values not printed on the scale, both the upper and lower indicators light. (For example, the 0 and +3 indicators light to indicate a value of +1.5dB.)

33	GEQ ON Switch
This switch toggles the graphic equalizer on or off. The switch is illuminated when on.

34	FRC MEASURE/CORRECT switch
FRC (Frequency Response Correction System) can measure the frequency characteristics of the sound field, and apply the correction curve to the GEQ automatically. The MEASURE mode measures the frequency characteristics, and the CORRECT mode applies the correction curve to the GEQ according to the measurement results. For details on using FRC, refer to page 30.

MEASURE mode
There are two measurement methods: noise measurement, engaged by pressing and holding the MEASURE/CORRECT switch for two seconds or longer, and music playback measurement, by pressing and holding for three seconds or longer.
To measure the frequency characteristics by noise output generated from the EMX, press and hold the MEASURE/CORRECT switch for two to three seconds. The indicator flashes quickly and the measurement starts. The measurement result is updated on the GEQ display every five seconds after measurement starts.
To measure the frequency characteristics by music playback, such as from connected CD players, press and hold the MEASURE/CORRECT switch for three seconds or longer. The indicator flashes slowly and the measurement starts. The measurement result is updated on the GEQ display every five seconds after measurement starts.

CORRECT mode
If you press and hold the MEASURE/CORRECT switch for two seconds or longer after measurement, the correction curve corresponding to the frequency characteristics of the measurement result is applied to the GEQ, and the indicator lights up. The correction curve will be retained until the next measurement. If you wish to recall the correction curve after turning off the GEQ ON switch or power switch, press the MEASURE/CORRECT switch again.

35	VOCAL, DANCE, SPEECH Switches
Pressing either of these switches recalls the preset GEQ settings. The GEQ display 31 indicates the settings, and the switch indicator lights up. If you change the GEQ settings after recall, the switch indicator turns off. To restore the preset settings, press the switch again.

36	USER 1, USER 2, USER 3 Switches
These switches are used to store the GEQ settings in each memory area and recall them.

Storing
Press and hold the USER switch for two seconds or longer until the switch indicator flashes.

Recalling the stored settings
Press the USER switch to be recalled. The settings are recalled and indicated on the GEQ display 31, and the switch indicator lights up. Pressing the GEQ +/- switches to adjust the settings after recall turns off the indicator. To restore the settings, press the USER switch again.

NOTE
After recalling the GEQ settings by pressing either of the MEASURE/CORRECT, VOCAL, DANCE, SPEECH, or USER switches, pressing the switch again restores the GEQ settings before recall. This is handy for comparing two GEQ settings.

37	Feedback Suppressor
This function monitors the stereo-bus signal for howling and creates notch filters (filters which cut specific frequencies) to eliminate the howling. There are two methods: AUTO mode monitors the signal periodically, and MANUAL mode searches for each feedback point individually. You can use both methods in tandem or either method alone.

AUTO mode
Pressing the AUTO ON switch turns on the indicator and monitors for howling periodically. If howling is found, the corresponding notch filter is created automatically. Pressing the AUTO ON switch again turns off Feedback Suppressor (notch filters) and the switch indicator.
To clear the notch filters, press and hold the AUTO ON switch for two seconds or longer. The indicator flashes when all notch filters are cleared. As long as you do not clear the notch filters, the filter settings will be retained even when you turn off the mixer's power.

NOTE
A notch filter created by AUTO mode will be reduced by 3 dB a minute after the filter has been created.

MANUAL mode
Press the MANUAL DETECT switch to check for the next feedback point in the signal. If howling is found, (up to) one notch filter is created automatically. During the check, the MANUAL DETECT switch indicator flashes. The check is stopped when howling is found or not found for five seconds. If notch filters are already created and another howling point is not found, the indicator goes off for a second, then lights up again.
MANUAL mode detects howling more sensitively than AUTO mode. Use of this mode may mistakenly identify musical notes as howling during a performance; however, this mode is handy to set up precautionary notch filters beforehand by intentionally raising the levels and finding the howling points.

NOTE
If a notch filter is created by pressing the MANUAL DETECT switch, the MANUAL ON switch is turned on automatically. To turn off Feedback Suppressor, press the MANUAL ON switch. The switch indicator turns off.
If no notch filters are created, pressing the MANUAL ON switch cannot turn on Feedback Suppressor.

To clear the notch filters, press and hold the MANUAL ON switch for two seconds or longer. The indicator flashes when all notch filters are cleared. As long as you do not clear the notch filters, the filter settings will be retained even when you turn off the mixer's power.

38	MAXIMIZE ON switch
When this switch is turned on, a multi-band (3-band) compressor is applied to the Stereo L/R bus signal enhancing the sound and volume of the overall output. Turning on the switch lights up the indicator.

NOTE
Turning on the power while holding the GEQ ON switch 33 and MAXIMIZE ON switch 38 restores the initial factory settings for GEQ, Effects, Feedback Suppressor, and MAXIMIZE.

39	LIMITER Indicators
The lamp lights up when the amplified signal output at the SPEAKERS jacks hits its maximum value. 

CAUTION
The lamp indicates that the limiter has come on. If the lamps are flashing frequently, the load on the amp is too high and there is risk of damage to your equipment. Reduce the setting of the ST master fader 52 or the AUX1 or AUX2 fader 46 until the lamps flash only briefly or not at all.

40	Maximum Output Switch
This selector lets you set the maximum output from for the 2-channel internal amp to any of three levels. Set this to match the size of your room or the input capacity of your speakers.
500W:	Maximum 500W + 500W/4 ohms.
200W:	Maximum 200W + 200W/4 ohms.
75W:	Maximum 75W + 75W/4 ohms.

41	POWER AMP Switch
Selects the output that gets sent to the SPEAKERS jacks, as follows.

L/R:
SPEAKERS jacks A1 and A2 output the signal from the Stereo L bus, while jacks B1 and B2 output the signal from the Stereo R bus. The overall volume is adjusted by the ST master fader.

AUX1/MONO: 
SPEAKERS jacks A1 and A2 output the signal from the AUX 1 bus; the volume for this signal can be adjusted using the AUX1 fader. SPEAKERS jacks B1 and B2 output the mix of the signals on the Stereo L and R buses; the volume can be adjusted with the ST master fader.

AUX1/AUX2: 
SPEAKERS jacks A1 and A2 output the signal from the AUX 1 bus, while jacks B1 and B2 output the signal from the AUX2 bus. Volumes can be adjusted using the AUX1 and AUX2 faders, respectively.

42	YS Processing Switch
This switch turns Yamaha Speaker Processing on or off. The processor adjusts the speaker's bass ranges so as to compensate, for example, for a lack of subwoofers. Note however that the resulting frequency balance may vary according to the speakers you are using.

43	PHANTOM Switch and Indicator
This switch toggles phantom power on and off. The indicator lights up when the setting is on. If you set the switch on, the mixer supplies power to the XLR mic input jacks on all channels (the INPUT A jacks on channels 1 to 8, and the MIC jacks on channel pairs 9/10 to 15/16). Set this switch on when using one or more condenser microphones.

NOTE
When the switch is on, the mixer supplies DC +48V power to pins 2 and 3 of all XLR input jacks.

CAUTION
Be sure to leave this switch off if you do not need phantom power. 
When using phantom power, do not connect any devices other than condenser microphones to the XLR input jacks. Other devices may be damaged if connected to phantom power. This precaution does not apply to balanced dynamic microphones, however, as these will not be affected by phantom power.
To avoid damage to speakers, be sure to turn off the power to the EMX itself and to any other power amplifiers and power speakers before switching phantom power on or off. We also recommend that you turn all output controls (channel faders, ST Master fader, AUX1/2 faders, etc.) to minimum settings before operating the switch, to avoid risk of loud noises that could cause hearing loss or device damage.

44	LEVEL Meters
If the ST/AFL-PFL switch 45 is set to ST, these meters show the L and R levels of the signal output from the ST OUT jacks 28. If the ST/AFL-PFL switch is set to AFL-PFL, the meters show the levels output from the PHONES jack 29.

NOTE
Note that the signal output to the ST OUT jacks is also passed through the internal amplifier and then output at the SPEAKERS jacks 53. Keep an eye on the LIMITER lamps 39 to ensure that the level at the SPEAKERS jacks does not stay too high.

45	ST/AFL-PFL Switch
If the switch is set to AFL-PFL, the LEVEL meters show the level of the output at the PHONES jack prior to adjustment by the PHONES control. If the switch is set to ST, the meters show the level output at the ST OUT jacks following adjustment by the ST master fader.

NOTE
The PFL (16, 23, 49) and AFL 50 switches select the mix to be monitored at the PHONES jack.

46	PHONES Control
Controls the level of the signal output to the PHONES jack.

47	ST SUB OUT Control
Adjusts the signal level to the ST SUB OUT jacks. 

NOTE
Has no effect on the output from the ST OUT and SPEAKERS jacks.

48	STANDBY Switch
This switch mutes the input to channels 1 to 8. The switch lights up to indicate that the mute has been turned on. Note that the mute does not work on channels 9/10 to 15/16.

NOTE
When using the mixer for live performances, you can fill in gaps in the performance by turning on the STANDBY switch and feeding background music from a CD player or other such device into channels 9/10 to 15/16.

49	PFL (Pre-Fader Listen) Switch
Set this switch on if you want to monitor the pre-fade of the signal that is being output at the ST OUT or ST SUB OUT jacks. If the switch is on, the signal (prior to adjustment by the ST master fader and ST SUB control) is fed to the PFL bus so that it can be monitored at the PHONES jack.

NOTE
The signal level into the PFL bus is not affected by the settings of the ST master fader and ST SUB OUT Control.
The PFL (16, 23, 49) and AFL 50 switches select the mix to be monitored at the PHONES jack. If the channel's PFL or AFL switch is ON, the channel's output is mixed into the monitor signal to the PHONES jack.

50	AFL (After-Fader Listen) Switches
Set this relevant switch on if you want to monitor the post-fade of the signal that is being output at the ST OUT or the SEND AUX1 or SEND AUX2 jack. If the switch is on, the signal (following adjustment by the ST master fader or AUX1 or AUX2 fader) is fed to the AFL bus so that it can be monitored at the PHONES jack.

NOTE
The signal levels into the AFL bus are not affected by the settings of the ST master fader or the AUX1/2 fader settings.
The PFL (16, 23, 49) and AFL 50 switches select the mix to be monitored at the PHONES jack. If the channel's PFL or AFL switch is ON, the channel's output is mixed into the monitor signal to the PHONES jack.

51	AUX1 and AUX2 Faders
The AUX1 fader adjusts the level of the output from the SPEAKERS A jacks 53 or the SEND AUX1 jack 18. The AUX2 fader adjusts the level of the output from the SPEAKERS B jacks 53 or the SEND AUX2 jack 18.

52	ST Master Fader
Adjusts the level to the SPEAKERS jacks 53 or ST OUT jacks 28.

NOTE
Does not affect the level of the output from the ST SUB OUT jacks.
The signal to the SPEAKERS jacks is determined by the setting of the POWER AMP switch 41.

Rear Panel

53	SPEAKERS jacks
Use these jacks to connect to speakers. Note that the output directed to these jacks varies according to the setting of the POWER AMP switch 41.

A1, B1:	NEUTRIK NL4 Speakon outputs. Polarities are as shown below.

(Figure)
1-
1+
2+
2-

(Table)
Neutrik Plug	A1 and B1 Connectors
1+	+
1-	-
2+
2-
(Table End)

A2, B2:	Phone output jacks.

54	POWER Switch
This switch turns the EMX power ON and OFF.

CAUTION
Before turning the power ON or OFF, be sure to turn both the ST master fader and the AUX1 and AUX2 faders are all the way down.

55	AC IN Connector
Connect the included power cable here. Connect one end of the cord to this connector, and then plug the other end into a standard power outlet.

CAUTION
Before turning the power ON or OFF, be sure to turn both the ST master fader and the AUX1 and AUX2 faders are all the way down.

56	Ground Screw
For maximum safety be sure to securely connect the EMX to an earth connection. The supplied power cable has a three-prong plug that will ground the unit when the plug is inserted into an appropriately grounded three-prong type AC mains outlet. If the AC outlet is not grounded, be sure to ground the unit by using this ground screw. Correct grounding will effectively eliminate hum noise and interference.


This is the end of the file.
