User manual YAMAHA EMX5014C

[. . . ] POWERED MIXER POWERED MIXER Owner's Manual Quick Guide Pages 7 to 11 Making the Most of Your Mixer Pages 12 to 18 EN Explanation of Graphical Symbols CAUT I ON RISK OF ELECTRIC SHOCK DO NOT OPEN 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. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The above warning is located on the rear of the unit. IMPORTANT SAFETY INSTRUCTIONS 1 2 3 4 5 6 7 8 Read these instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. [. . . ] Surprisingly enough, piano also has an incredibly powerful 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) low end that can benefit from a bit of lowfrequency roll-off to let other instruments-- Fundamental: The frequency that determines the basic musical pitch. notably drums and bass--do their jobs more Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument. 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. 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. In the same way you can halve the frequency to 220 Hz to produce "A2" an octave lower. 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. MID Boost LOW Boost MID Flat HIGH Boost Signal Level (dB) LOW Flat HIGH Flat LOW Cut MID Cut Frequency (Hz) HIGH Cut 16 EMX5014C Owner's Manual Mixer Basics Making the Most of Your Mixer Ambience Your mixes can be further refined by adding ambience effects such as reverb or delay. 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. 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 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 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 "timeshifted" 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. [. . . ] [-34dBu] -40dBu -50dBu -60dBu CH INPUT (PAD OFF) GAIN Max. [-60dBu] ST CH MIC [-60dBu] -70dBu For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. NORTH AMERICA CANADA Yamaha Canada Music Ltd. [. . . ]