User manual YAMAHA EMX 5016CF

[. . . ] POWERED MIXER POWERED MIXER Owner's Manual Bedienungsanleitung Mode d'emploi Manual de instrucciones Quick Guide Pages 7 to 11 Making the Most of Your Mixer Pages 12 to 18 EN DE FR ES 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. [. . . ] The phase difference between the modulated and direct signals causes cancellation at some frequencies and reinforces the signal at others ­ a "comb filter" effect ­ and this causes the shimmering sound we hear. Phasing is the subtlest of all these effects, producing a gentle shimmer that can add life to a wide range of sources without being too obtrusive. For chorus and flanging the signal is actually delayed by several milliseconds (a millisecond is a thousandth of a second), with the delay time modulated by an LFO, and recombined with the direct signal. In addition to the comb-filter effect described above, the delay modulation in these effects causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback used ­ flanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure. Chorus is most often used to thicken the sound of an instrument, while flanging is usually used as an outright "special effect" to produce otherworldly sonic swoops. Reverb and Delay Time A variety of reverb and delay effect programs are provided, and nearly all of then have a reverb/delay time parameter than can be adjusted via the panel PARAMETER control. Small adjustments to the reverb/delay time can actually have a significant effect on the sound. The optimum reverb time for a piece of music will depend on the music's demo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to up-tempo tunes. Delay times can be adjusted to create a wide variety of "grooves", and you need to select the time that best suits the music. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tune's tempo. Reverb Tone Different reverb programs will have different "reverb tone" due to differences in the reverb time of the high or low frequencies, or differences in the overall frequency response of the reverb sound. Always be careful not apply too much reverb, particularly in the high frequencies. In addition to resulting in unnatural sound, excessive high-frequency reverb can interfere with the high frequencies in other parts of the mix. If you can hear more reverb than direct sound in the upper frequency range, try selecting a different effect program. It's always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix. EMX5016CF Owner's Manual 17 Mixer Basics Making the Most of Your Mixer Compression Have you ever wondered why professionally produced recordings sound so different from your own?There are numerous reasons, of course, but one important factor is the judicious use of compression. One form of compression known as "limiting" can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. Compression can also be used within a mix to make a voice or instrument seem to come forward, or simply to even out level differences. Compression can be used to make a mix seem bigger and louder by producing a more "saturated" sound. Professional compressors have numerous parameters that need to be carefully adjusted: attack, release, threshold, level, and sometimes more. A professional sound engineer might need to spend a considerable amount of time, based on a considerable amount of experience, to set each of these parameters to achieve the desired sound. OUTPUT (Min) (Max) INPUT The EMX compressor makes achieving great sound much easier. All you need to do is set a single "compression" control and all of the pertinent parameters are automatically adjusted for you. The engineers who designed this fine compressor paid careful attention to achieving the best sound quality possible so that you can quickly achieve pro-quality compression without having to worry about a confusing multitude of settings. A common example of the use of compression is to "tame" a vocal that has a wide dynamic range in order to tighten up the mix. [. . . ] Compressor (COMP) PEAK Indicator SIGNAL Indicator STANDBY Switch Level Meter Digital Graphic Equalizer CH 1-15/16 XLR HIGH MID (MONO) MID (ST) LOW CH1-8 ST, PFL/AFL ST OUT Frequency Response Correction (FRC) System Feedback Suppressor (FBS) MAXIMIZE Digital Effect Lamp Maximum Output Power Select Switch Power Amplifier Signal Select Switch Yamaha Speaker Processing SPEAKERS Power Amplifier Protection Power Supply Protection Cooling Power Consumption AC Cord Dimensions Net Weight Adjacent inputs dB Input to output MIC to SPEAKERS 109 MIC to ST OUT 84 MIC to ST SUB OUT 80 MIC to AUX SEND (PRE) 80 dB MIC to AUX SEND (POST) 90 MIC to EFFECT SEND 80 MIC to REC OUT 62. 2 CH 9/10-15/16 LINE to ST OUT 58 No load 48 V DC 10kHz (Shelving) 250Hz-5kHz (Peaking) 2. 5kHz (Peaking) 100Hz (Shelving) On each channel 1-8: One control adjusts the Gain, Threshold, and Ratio simultaneously. On each channel: Indicator lights if post-EQ signal comes within 3dB of the clipping level. On each channel: Indicator lights if post-EQ signal reaches ­10dB. CH1-8 mute Two 12-points LED level meter (PEAK, +5, +3, +1, 0, ­1, ­3, ­5, ­7, ­10, ­15, ­20 dB) PEAK lights if the signal comes within 3 dB of the clipping level. [. . . ]