Yamaha EMX5016CF Brochure & Specs page 5

An Inter view with the EMX Design Team
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers
New Features
• In the box-type 212C, 312SC, and 512SC, it was
easy to mount the fan away from the circuit board to
* What is the main difference compared to previous
minimize degradation of the audio signal. But in the
EMX-series mixers?
console-type EMX5016CF and EMX5014C finding the
• The main difference is built-in compression. ideal fan location was extremely difficult. Since the fan
Compression is indispensable in almost all must be located near the input circuitry, special measures
professional recording and live-sound applications, but have been taken to ensure that electronic and mechanical
we believe that this is the first time it has been built into noise from the fan do not affect sound quality, while at
an analog live mixer. the same time ensuring maximum heat extraction.
• Most "box type" mixers have no insert connectors, so • The hardware team wanted to increase the size of
there has really been no convenient way to use the body by 30 millimeters, but our goals for a
compression with them. As a result, many users of this type streamlined, compact design were important enough
of powered mixer have never used compression, but we that we decided to find other ways to achieve the
wanted them to have that option in the new EMX series. desired performance.
• Although compression is used in most pro audio
applications, it has been a bit too difficult for beginners Reliability Without Compromising
to take full advantage of. That's why we've streamlined Performance
it down to the essentials and made it very easy to use.
* The simplicity and aesthetic appeal of the designs are
• Another important new feature is FCL (Feedback quite impressive. Tell us about the design concept.
Channel Location). This system detects feedback and
• Simplicity was the main goal, particularly in the
shows you which channel is causing the problem.
console-type 5016CF and 5014C. We wanted to
Some mixers from other manufacturers have indicators
consolidate the mixer controls, so the utility control
in the graphic equalizer section that show the
section has been clearly separated. We didn't even
feedback frequency, but indicating the problem
want any handles to be visible.
channel allows the feedback to be more effectively
controlled using channel EQ.
• An important idea implemented in the box-type
models is that they can be set at an angle like monitor
• If you try to control feedback using the EMX graphic
speakers. The integral handles are also an important
equalizer, for example, you end up changing the
design feature, and achieving the required strength
sound of the entire program. For this reason it is far
was a constant problem.
more effective to control it at the input, thus avoiding
degradation of the overall sound.
• 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
The Battle Against Heat
mechanics teams try to turn them into reality ... without
* Tell us about how you avoided heat problems in such
ever reducing or compromising features or performance.
compact enclosures.
Computer simulation was called into play once again,
providing an accurate preview of the mold-flow
• Heat and high power output unavoidably go hand-
characteristics of the resin used for the box-type housings.
in-hand. In this case we were also determined to
reduce weight, so the design, hardware, and
• The final strength of the molded housings depends to
mechanics teams joined forces to pursue this goal.
a large degree on how the molten resin is introduced
Changing even a single component can alter the heat
in the mold, and how it flows within the mold.
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.
P.T. Yamaha Music
manufacturing Asia
—Manufacturing the electronic
instruments and PA products
From the initial design to final
manufacturing, all production
processes for the Yamaha EMX
series Powered Mixers are
performed entirely inside the
company.
Moreover, every product that comes
off our production line must pass
strict quality controls using the
sophisticated test instruments. Thus,
all of this enables us to deliver the
highest quality products to you.
• The strength of the integral handles was also
predicted using computer simulation, and as a
result, we have achieved strength comparable to
that of aluminum.
Achieving Pure Sound Quality
* What measures have been taken to ensure optimum
sound quality?
• Of course sound quality is first and foremost in
the design of any model. Achieving the lowest
possible noise and hum when changing
components is always a challenge. There's
influence from vibration, from the current flowing
through the components themselves, and a simple
op-amp IC change can precipitate a large change
in sound. We often find ourselves using the best
components we can find rather than compromise
on sound quality. Even the FCL system has an effect
on the sound, and we were able to achieve a
dramatic improvement by simply eliminating a
single component from the circuit. Once again, the
final design depends on trial-and-error listening
tests while changing components.
• With SPX effects in all models in this EMX series,
plus compression and FCL, you can rely on a single
EMX powered mixer to deliver outstanding live
sound, especially in applications that use mostly
microphones.
* Most compressors have at least two controls, what
is the idea behind having just one?
• Simplicity. Standard compression controls can be
very difficult to set quickly and accurately, but
we've managed to provide well-balanced threshold
and ratio settings that can be controlled by a single
knob. By focusing primarily on microphone
applications in which compression is applied to
vocals, acoustic guitar, or similar sources, great-
sounding compression can be dialed in quickly and
easily.
• There's a good description of compression and
its uses in the owner's manual. We hope that our
users will take advantage of this very useful
feature.
EMX5016CF Block and Level Diagram
PHANTOM
+48V
CH INPUT
RE
CH1-8 RE
INPUT A PEAK
SIGNAL
[-60dBu~ -16dBu]
80 GR (CH Fader) [0dBu]
PAD HA [-10dBu] [0dBu] PAN
INPUT B COMP 3-Stage EQ BA
[-60dBu~ -16dBu] PRE
HPF AUX1 [-6dBu]
26dB
GAIN
COMP PRE
[-60dBu~ -16dBu] AUX2 [-6dBu]
(TH)
[-34dBu~ +10dBu]
EFF 1 [-6dBu]
INSERT ON
[0dBu] EFF 2 [-6dBu]
[0dBu] BA
PFL
YE
ST CH INPUT
CH9/10,11/12,13/14,15/16
[-30dBu~ +14dBu]
MIC 80
HA
[-60dBu~ -16dBu]
HPF
[0dBu] [0dBu] [0dBu]
[-10dBu] [0dBu] PAN/BAL
INV HA 3-Stage EQ BA
L
PRE AUX1 [-6dBu]
CH9L,11L,13L,15L
[-34dBu~ +10dBu] RE ON
(ST CH Fader)
GAIN PEAK
[-34dBu~
SIGNAL YE PRE
+10dBu] AUX2 [-6dBu]
ST CH LINE GR
INV HA 3-Stage EQ BA
EFF 1 [-6dBu]
R
CH10R,12R,14R,16R
EFF 2 [-6dBu]
[-34dBu~ +10dBu]
PFL
FOOT1
EFF1 ON/OFF
EFF1 RTN [-10dBu]
EFF1 OUT L
D/A BA
FOOT2
EFF2 ON/OFF EFF1 OUT R
EFFECT 1 D/A BA
AUX1 [-6dBu]
PROGRAM ENC1 [A-D]
PARAMETER INSERT[1]
AUX2 [-6dBu]
EFF 1 ON
EFF1 ON
EFF1 LED PFL
YE
EFF IN 1
A/D
EFF IN 2
A/D
EFFECT 2
PROGRAM ENC2 [A-D]
EFF2 OUT L EFF RTN [-10dBu]
D/A BA
PARAMETER INSERT[2]
EFF 2 ON EFF2 ON
EFF2 OUT R
D/A BA
EFF2 LED
YE
AUX1 [-6dBu]
AUX2 [-6dBu]
PFL
0dBu=0.775V
0dBV=1V
+40dBu
+30dBu
Clip level Clip level
+20dBu
CH INPUT (PAD ON) ST CH LINE
GAIN Min. [+10dBu]
GAIN Min. [+10dBu]
+10dBu
INSERT I/O [0dBu] CH & ST CH to ST [0dBu] (PAN,BAL Max.)
0dBu
ST CH IN
Clip level [-10dBu]
-10dBu CH INPUT (PAD OFF) ST CH MIC CH & ST CH to AUX/EFFECT [-6dBu]
GAIN Min. [-16dBu] [-16dBu] CH fader [-10dBu]
-20dBu
CH INPUT (PAD ON) ST CH LINE
-30dBu
GAIN Max. [-34dBu] GAIN Max. [-34dBu]
-40dBu
-50dBu
CH INPUT (PAD OFF) ST CH MIC
GAIN Max. [-60dBu] [-60dBu]
-60dBu
-70dBu
EMX5016CF Specifications
GENERAL SPECIFICATION
EMX5016CF
500 W/4 Ω
Maximum Output Power
350 W/8 Ω (UA)
@ 0.5 % THD at 1 kHz
320 W/8 Ω (H)
-3, 0, 1 dB
Frequency Response
20Hz-20kHz, ref to the 1kHz output level, GAIN=MIN, PAD=OFF
Less than 0.3 % (THD+N)
Total Harmonic Distortion
+14dBu output into 600 Ω @ 20 Hz-20 kHz
Hum & Noise Equivalent Input Noise, -128 dBu, GAIN=MAX, 20 Hz-20 kHz, CH1-8 MIC
Crosstalk @ 1 kHz -68 dB
CH 1-8: XLR and Phone
Input Connectors
CH 9/10-15/16: XLR. Phone and Pin
CH 1-8: HIGH (10 k, Shelving), MID (mono: 250-5 k, st: 2.5 k, Peaking), LOW (100, Shelving)
CHANNEL EQ
CH 9/10-15/16: HIGH (10 k, Shelving), MID (st: 2.5 k, Peaking), LOW (100, Shelving)
Phantom Voltage 48 V
Digital Graphic Equalizer 9 Band (63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k, 16 kHz), Preset x 3, User preset x 3
Digital Effects SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs x 2
Power Amp. Mode L/R, AUX1/MONO, AUX1/2
Foot Switch Effect On/Off
Dimensions (W x D x H) 444 x 493 x 155 mm (17- 3 / " x 19- 3 / " x 6- 1 / ")
8 8 8
Weight 11 kg (24.2 lbs.)
120 V 60 Hz, 500W
Power Requirements/Consumption
220-240 V 50 Hz, 500W
All level controls are nominal, when measured. Output impedance of signal generator: 150 Ω
Rack Mount Adaptor RK5014
The EMX5016CF can be rack-mounted using an
optional rack-mounting kit for optimum
integration with any system or installation.
[-6dBu]
STAND-BY BA
L/MONO
ST SUB OUT
RE
ST SUB OUT
[+4dBu]
BA
R
[0dBu]
SUM
[-10dBu]
[0dBu] [0dBu]
ST L DSP ST OUT L
SUM SUM A/D D/A BA
L
Multi GEQ
ST
[0dBu] Band FBS + ST OUT
SUM
Comp. FRC [+4dBu]
[0dBu] [0dBu] ST OUT R
ST R
SUM SUM A/D D/A BA
R
L
REC OUT
[-10dBV]
R
PFL
AFL
[0dBu]
SUM
AUX1
[0dBu] [0dBu] [-10dBu]
SUM SUM BA
AUX 1
[+4dBu]
AFL
[0dBu]
SUM
AUX1
[0dBu] [0dBu] [-10dBu]
SUM SUM BA
AUX 2
[+4dBu]
AFL
[0dBu]
SUM
[0dBu] [0dBu]
SUM SUM BA
EFF 1
[+4dBu]
[0dBu]
SUM
SEND
[0dBu] [0dBu]
SUM SUM BA
EFF 2
[+4dBu]
PHONES
[-16dBu]
[0dBu] PHASE
SUM INV PHONES
[3mW 40ohms]
[0dBu]
SUM INV
LAMP
[12V]
(AMP SIGNAL SELECT) LIMITER
POWER AMP
L
500W
AUX1 RE
200W
AUX1 ON LIMITER
YSP 75W
YS PROCESSING
SUM INV
YE LIMITER
R
500W
RE
MONO
200W
AUX2 ON LIMITER
YSP
75W
(METER SELECT) (LED METER)
ST
AFL/PFL DR
ST
AFL/PFL DR
SPEAKER OUT
MAXIMUM OUTPUT POWER [500W/4ohms]
Clip level Clip level
ST OUT, ST SUB OUT [+4dBu]
AUX SEND, EFFECT SEND [+4dBu]
ST SUB level control [-6dBu] [PHONES 3mW@40ohms]
REC OUT [-10dBV]
ST, AUX fader [-10dBu]
PHONES [-16dBu]
INPUT CHARACTERISTICS
Input Level
Actual Load For Use With
Input Terminals PAD GAIN
Impedance Nominal
Sensitivity *2 Position Max. Before Clip
-80 dBu -60 dBu -40 dBu
-60 dB
(0.078 mV) (0.775 mV) (7.75 mV)
0dB
-36 dBu -16 dBu +4 dBu
-16 dB
50-600 Ω
(12.3 mV) (123 mV) (1.23 V)
CH INPUT A 1-8 3 kΩ
Mics
-54 dBu -34 dBu -14 dBu
-34 dB
(1.55 mV) (15.5 mV) (155 mV)
26dB
-10 dBu +10 dBu +30 dBu
+10 dB
(245 mV) (2.45 V) (24.5 V)
-80 dBu -60 dBu -40 dBu
-60 dB
(0.078 mV) (0.775 mV) (7.75 V)
0dB
-36 dBu -16 dBu +4 dBu
-16 dB
600 Ω (12.3 mV) (123 mV) (1.23 V)
CH INPUT B 1-8 10 kΩ
Lines -54 dBu -34 dBu -14 dBu
-34 dB
(1.55 mV) (15.5 mV) (155 mV)
26dB
-10 dBu +10 dBu +30 dBu
+10 dB
(245 mV) (2.45V) (24.5 V)
-80 dBu -60 dBu -40 dBu
-60 dB (7.75 mV )
50-600 Ω
ST CH MIC INPUT (0.078 mV) (0.775 mV)
— 3 kΩ
9/10-15/16 Mics
-36 dBu -16 dBu -10 dBu
-16 dB
(12.3 mV) (123 mV) (245 mV)
-54 dBu -34 dBu -14 dBu
-34 dB
600 Ω
ST CH LINE INPUT (1.55 mV) (15.5 mV) (155mV)
— 10 kΩ
9/10-15/16 Lines
-10 dBu +10 dBu +30 dBu
+10 dB
(245 mV) (2.45 V) (24.5 V)
CH INSERT IN 600 Ω -20 dBu 0 dBu +20 dBu
— — 10 kΩ
(1-8) Lines (77.5 mV) (0.775 V) (7.75 V)
*1 0 dBu is referenced to 0.775 Vrms. *3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*2 Sensitivity is the lowest level that will produce an output of +4 dBu *4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
(1.23 V), or the nominal output level when the unit is set to maximum level.
*5 Phone Jacks are unbalanced.
(All level controls are at maximum position.)
OUTPUT CHARACTERISTICS
Actual Source For Use With Output Level
Output Terminals
Impedance Nominal
Nominal Max. Before Clip
150 Ω 600 Ω Lines
ST OUT [L, R] +4 dBu (1.23 V) +20 dBu (7.75 V)
150 Ω 600 Ω Lines
ST SUB OUT [L, R] +4 dBu (1.23 V) +20 dBu (7.75 V)
AUX SEND 1, 2 150 Ω 600 Ω Lines +4 dBu (1.23 V) +20 dBu (7.75 V)
150 Ω 600 Ω Lines
EFF SEND 1, 2 +4 dBu (1.23 V) +20 dBu (7.75 V)
600 Ω
CH INSERT OUT 1-8 10 kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V)
600 Ω
REC OUT [L, R] 10 kΩ Lines -10 dBV (316 mV) +10 dBV (3.16 V)
PHONES [L, R] 100 Ω 40 Ω Lines 3mW 75mW
0.1 Ω 4 Ω Speakers
SPEAKERS 125W 500W
*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.
SPEAKERS
[500WMAX @ 4ohms]
PA
2
L
A
AUX1
AUX1
1
INV PA
2
R
B
MONO
AUX2
1
(+35.2dBu)
+40dB
[125W/4ohms]
+30dB
(+29.2dBu)
+20dB
+10dB
0dB
-10dB
-20dB
-30dB
-40dB
-50dB
-60dB
-70dB
Connector
XLR-3-31 type *3
Phone Jack *4
XLR-3-31 type *3
Phone Jack *5
RCA Pin Jack
Phone Jack *5
Connector
Phone Jack *2
Phone Jack *2
Phone Jack *2
Phone Jack *2
Phone Jack *2
RCA Pin Jack
Phone Jack (TRS)
SPEAKON
Phone Jack *2