User manual YAMAHA PSS-790

[. . . ] Do not defeat the safety purpose of the polarized or grounding-type plug. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. [. . . ] In the case of dBu, "0 dBu" is specified as a signal level of 0. 775 volts. For example, if a microphone's output level is ­40 dBu (0. 00775 V), then to raise that level to 0 dBu (0. 775 V) in the mixer's preamp stage requires that the signal be amplified by 100 times. A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output levels as closely as possible. In most cases the "nominal" level for a mixer's input and outputs is marked on the panel or listed in the owner's manual. Making Better Mixes Approaching the Mix--Where Do You Start? Mixing is easy, right?Well, you can do it that Example1: Vocal Ballad Backed by Piano Trio What are you mixing?Is it a song in which the vocals are the most important element? + 20 dBu 0 dBu -20 dBu -40 dBu -60 dBu 0. 775 V Most professional mixers, power amplifiers, and other types of equipment have inputs and outputs with a nominal level of +4 dBu. The inputs and outputs on home-use audio gear usually have a nominal level of ­10 dBu. Microphone signal levels vary over a wide range depending on the type of microphone and the source. Average speech is about ­30 dBu, but the twittering of a bird might be lower than ­50 dBu while a solid bass drum beat might produce a level as high as 0 dBu. EMX512SC/EMX312SC/EMX212S 15 BASIC Making the Most of Your Mixer If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal first (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound. The fundamental and harmonic musical instruments. Piano Bass Drum frequency ranges of some Cymbal Snare Drum Bass Guitar Trombone Trumpet 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) Fundamental: The frequency that determines the basic musical pitch. 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. 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 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 Signal Level (dB) LOW Flat HIGH Flat LOW Cut MID Cut Frequency (Hz) HIGH Cut 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. Ambience Your mixes can be further refined by adding ambience effects such as reverb or delay. [. . . ] (Tip=HOT, Ring=COLD, Sleeve=GND) *5 Phone Jacks are unbalanced. Output Characteristics Output Terminals Actual Source Impedance 0. 1 600 600 600 For Use with Nominal EMX512SC SPEAKERS [A1, A2, B1, B2] MAIN OUT [L, R] EFFECT OUT MONITOR OUT 4 Speakers 10 k Lines 10 k Lines 10 k Lines EMX312SC EMX212S -- -- -- Output Level Nominal 125 W 75 W 50 W +4 dBu (1. 23 V) +4 dBu (1. 23 V) +4 dBu (1. 23 V) Max. before Clip 500 W 300 W 220 W +20 dBu (7. 75 V) +20 dBu (7. 75 V) +20 dBu (7. 75 V) Phone Jack *2 Phone Jack *2 Phone Jack *2 RCA Pin Jack [A1, B1] SPEAKON [A2, B2] Phone Jack Connector REC OUT [L, R] 600 10 k Lines -- *1 0 dBu is referenced to 0. 775 Vrms. *2 Phone Jacks are unbalanced. ­10 dBV (316 mV) +10 dBV (3. 16 V) Specifications and descriptions in this owner's manual are for information purposes only. reserves the right to change or modify products or specifications at any time without prior notice. [. . . ]