POWERED MIXER

EMX5016CF/EMX5014C EMX512SC/EMX312SC/EMX212S
For details please contact:

www.yamahaproaudio.com

Printed in Japan

LPA514

Serious Live Sound Capability Plus Innovative Digital Features
The EMX5016CF delivers the convenience of an integrated powered mixer with input capacity, flexible features, and solid sound that critical live sound applications demand. It is remarkably compact and portable for a live sound system with this much capability, but offers performance and reliability that will satisfy the discerning professional user either on the road or in installed applications. And thanks to leading Yamaha digital technology, the EMX5016CF also includes a number of innovations that make it easier than ever to achieve top-class sound in just about any venue. An impressive power output of 500 watts per channel means it can handle fairly large audiences, indoors or out. The EMX5016CF goes considerably beyond the standard definition of powered mixer, entering the realm of serious sound reinforcement. "COMP" CHARACTERISTICS
Versatile 16-Input Configuration Adapts to Varied Source Requirements
The EMX5016CF has a total of 16 input channels eight for monaural microphone or line input plus four stereo pairs. The stereo channel pairs can function either as monaural microphone inputs or stereo line inputs. This system gives you extra microphone inputs if your sources are mostly microphones, or if you need to handle more stereo sources the EMXCF will comfortably handle four pairs in addition to eight monaural microphone or line inputs. Switchable phantom power is provided for all microphone inputs.

Other Pro-class Features

Gain controls and 26-dB pad switches allow optimum level matching with just about any source. 80-Hz high pass filters for elimination of unwanted lowfrequency noise and rumble. Channel ON switches let you switch individual channels into or out of the mix. Pan control adjusts the position of mono channel signals in the stereo sound field, while balance controls on stereo channels control the balance of the stereo image. High-quality linear faders individually adjust the level of each channel. PFL (pre-fader listen) switches allow isolated monitoring of individual channels. All input channels feature signal and peak indicators for visual signal monitoring. Linear AUX 1, AUX 2, EFF1 RTN and EFF2 RTN faders with PFL (pre-fader listen) switches on the effect returns and AFL (after-fader listen) monitor switches on the auxiliary returns. Stereo master fader with both PFL and AFL monitor switches. Yamaha Speaker Processing delivers enhanced lows and high-end smoothness with Yamaha Club-series speakers. Limiter indicators tell you when the internal limiter circuitry has been activated due to power amplifier overload. Power Amp mode selector allows two-channel power amplifier to be quickly configured for Main + Main, Mono + Aux 1, or Aux 1 + Aux 2 operation. Power amplifier output selector allows selection of 500, 200, or 75 watt output per channel. Stand-by switch instantly mutes all mono inputs. Precise 12-segment stereo level meter. Phones jack with independent level control. High-quality SPEAKON speaker connectors for fast, reliable connection. Rack mountable with the optional RK5014 rack-mount kit. Console lamp connector accepts standard 3-pin XLR-connector gooseneck lamp (12 volts DC, 5 watts max.).
*Optional Standard gooseneck lamp
"THRESHOLD" = +20 - -10dBu

"0"

"10"

Advanced Channel EQ

3-band EQ is available on all input channels, but extra versatility is provided on the eight mono channels with mid-frequency sweep controls. The mid EQ center frequency can be continuously swept from 250 Hz through 5 kHz so you can precisely pinpoint frequencies in the critical midrange that require compensation, providing significantly enhanced equalization potential.
"RATIO" = 3 - 2.5
"GAIN" = 0 - +9dB
Ample I/O for Expansion and Integration
"ATTACK" = 20ms "RELEASE" = 250ms OUTPUT
All you need to create a powerful, high-performance live sound system is the EMX5016CF, a pair of speakers or two, and your sources. But it does feature a range of inputs and outputs that allow it to be expanded with external gear or integrated into larger systems. Insert patch points on the mono input channels, for example, let you add outboard signal processing to individual input channels. And although you have all the monitor power and effects youre likely to need built in, external AUX and EFFECT sends allow you to route the mixers signals to external signal processing and/or monitor systems as required. Stereo out, stereo sub-out, and record outputs are also provided.

One-knob Compression On Mono Channels
Up To 12 Mics, 16 Inputs Total 4 Stereo inputs 500 W + 500 W (4) Input Gain Trim and Pads LPF 3-band Mid-sweep Channel EQ One-knob Compression PFL and AFL Monitoring Dual AUX Sends Dual SPX Processors Feedback Suppressor 9-band Digital Graphic EQ FRC System Multi-band Maximizer Maximum Power Switch Standby Mode Power Amp Mode Switch YAMAHA Speaker Processing Lightweight Design Lightweight Design (11kg) Rack Mountable

*Optional RK5014

The EMX5016CF features compressors on all monaural microphone/line channels that can help to make vocals ride the mix better, give you that smooth compressed guitar sound, deliver more punchy bass, and generally refine your mixes in a multitude of ways. These unique one-knob compressors are surprisingly simple to use. There are no multiple attack, threshold, makeup gain, and other controls just set the COMP control to the amount of compression you need.
9-band Digital Graphic EQ with Presets & Memory
This advanced digital 9-band stereo graphic equalizer goes way beyond conventional analog types with a refined control interface, instant-recall presets, and user memory locations. It also works with the consoles innovative Frequency Response Correction system (see below) for unprecedented response-shaping control. Of course you can manually adjust each band as required from scratch, but you can also use one of the presets VOCAL, DANCE, or SPEECH as a starting point and edit from there. You also have three user memories into which you can store your own EQ curves for instant recall whenever needed.
FRC (Frequency Response Correction) System
Setting a live sound systems output equalizer to optimally match room response is normally a complicated process requiring noise generators, calibrated microphones, real-time analyzers, and a great deal of time and experience. The EMX5016CF handles the entire process automatically, using either pink noise or a recorded music source you supply. To precisely match the systems response to the room youre in all you need to do is set up a microphone in an appropriate location, connect it to channel 1, press MEASURE/CORRECT once to make the measurement, and then again to automatically set the graphic equalizer for optimized response. The EQ setting can then be stored in one of the user memories for later recall if needed.

Console Controllability and Versatility
With the many features and control functions provided by the EMX5014C, console style is the only way to go. Its still compact enough to be placed in the stage area and controlled by the performers especially if rack mounted but its console configuration also makes it an ideal choice for front-of-house type operation by a sound engineer. Linear faders are another advantage of the console layout, providing precise level control as well as graphic representation of relative channel levels.
Gain controls and 26-dB pad switches allow optimum level matching with just about any source. 80-Hz high pass filters for elimination of unwanted lowfrequency noise and rumble. Channel ON switches let you switch individual channels into or out of the mix. Pan control adjusts the position of mono channel signals in the stereo sound field, while balance controls on stereo channels control the balance of the stereo image. High-quality linear faders individually adjust the level of each channel. PFL (pre-fader listen) switches allow isolated monitoring of individual channels. All input channels feature signal and peak indicators for visual signal monitoring. Linear AUX 1, AUX 2, and EFFECT RTN faders with AFL (after-fader listen) monitor switches. Stereo master fader with both PFL and AFL monitor switches.

Expanded EQ Capability

Like the other EMX-series mixers, the EMX5014C features 3-band EQ on all input channels, but goes a step further on the six mono channels with mid-frequency sweep controls. The mid EQ center frequency can be continuously swept from 250 Hz through 5 kHz so you can precisely pinpoint frequencies in the critical midrange that require compensation or enhancement, providing significantly greater enhanced tailoring potential. The stereo graphic equalizer has also been expanded with 9 bands that can be used for more effective room voicing or feedback control.
"ATTACK" = 20ms "RELEASE" = 250ms

OUTPUT

One-knob Compression on Mono Channels
Built-in channel dynamics is normally a feature reserved for much larger (and more expensive) mixers. But in the EMX5014C you get compressors on all six monaural mic/line channels. Judicious application of compression can help to make vocals ride the mix better, give you that smooth compressed guitar sound, deliver more punchy bass, and generally refine your mixes in a multitude of ways. Yamahas unique one-knob compressors are simple to use, too. Theres no need to juggle multiple attack, threshold, makeup gain, and other controls just set the COMP control to the amount of compression you need.

Up To 8 Mics, 14 Inputs Total 4 Stereo inputs 500 W + 500 W (4) Input Gain Trim One-knob Compression 3-band Mid-sweep Channel EQ LPF FCL System Dual AUX Sends SPX Digital Effects 9-band Stereo Graphic EQ PFL and AFL Monitoring Power Select Switch Standby Mode Power Amp Mode Switch YAMAHA Speaker Processing Lightweight Design (10.5kg) Rack Mountable
Feedback Channel Locating (FCL) System
FCL System indicator LEDs at the top of each channel light if the corresponding channel goes into feedback. So if and when feedback occurs youll be able to locate the channel(s) in which it is occurring immediately and rectify the problem without delay.
Limiter indicators tell you when the internal limiter circuitry has been activated due to power amplifier overload. Power Amp mode selector allows twochannel power amplifier to be quickly configured for Main + Main, Mono + Aux 1, or Aux 1 + Aux 2 operation. Power amplifier output selector allows selection of 500, 200, or 75 watt output per channel. Stand-by switch instantly mutes all mono inputs. Precise 12-segment stereo level meter. Phones jack with independent level control. High-quality SPEAKON speaker connectors for fast, reliable connection. Phone jack connectors are also provided.
Versatile 14-Input Configuration
The EMX5014C has a total of 14 input channels six for monaural microphone or line input, plus four stereo pairs. Two of the stereo channels can function either as monaural microphone inputs or stereo line inputs. Switchable phantom power is provided for all microphone inputs. This system lets you use up to eight microphone channels plus two stereo inputs if your sources are mostly microphones. Or if you need to handle more stereo sources say, Background Music, from a DJ mixer, and two stereo keyboards the EMX5014C will comfortably handle all of these in addition to six monaural microphone or line inputs.

Comprehensive I/O

Although the EMX5014C and a pair of speakers or two are all you need to create a powerful, highperformance live sound system, it features a range of inputs and outputs that allow it to be integrated into larger systems. Insert patch points on the mono input channels, for example, let you add outboard signal processing to individual input channels. And although you have all the effects youre likely to need built in, and monitor power, external AUX and EFFECT sends allow you to route the mixers signals to external signal processing and/or monitor systems as required. Stereo out, stereo sub-out, and record outputs are also provided.
500-watt Mains and Monitor
In this basic system the EMX5014C Speaker A output is driving a pair of parallel-connected S112V speakers for solid front-of-house sound, while an SM12V driven by the Speaker B output serves as a stage monitor.

SPX Digital Effects

One-knob Compression on Mono Channels (EMX512SC & EMX312SC)
All four monaural mic/line channels on the EMX512SC and EMX312SC feature builtin compressors that can help to bring vocals to the front of the mix, give your guitars extra smoothness and presence, deliver a more punchy bass sound, and generally refine your mixes in a multitude of ways. These one-knob compressors are simple to use, too. Theres no need to juggle multiple attack, threshold, makeup gain, and other controls just set the COMP control to the amount of compression you need.
For larger venues and audiences, or if you plan to use it for outdoor sound, the EMX512SC with a pair of whopping 500-watt amplifiers to ensure that your music or message comes across with full impact.
FCL System indicator LEDs at the top of each channel light if the corresponding channel goes into feedback, so you wont have to fumble around searching for the channel that needs adjustment.
Up To 8 Mics, 12 Inputs Total 2 Stereo inputs 500 W + 500 W (4) 3-band Channel EQ 7-band Stereo Graphic EQ One-knob Compression FCL System
SPX Digital Effects Power Select Switch Standby Mode YAMAHA Speaker Processing Lightweight Design Angled Cabinet Rack Mountable

*Optional RK512

12 Inputs
All three mixers in this series offer a total of 12 input channels four for monaural microphone (incl. Phantom Power) or line input, plus four pairs that can function either as monaural microphone inputs or stereo line inputs providing you with a versatile mix of input capabilities for a wide range of applications. If you need only microphone inputs you can use up to eight mic channels. Or if, for example, you want to play recorded background music during breaks (thats one stereo channel), and you have a keyboard player with a stereo-output keyboard (thats one more stereo channel), you still have six mic/line inputs. If you use all four stereo pairs to handle stereo line sources you have four channels available for mono mic or line input. This is a very versatile system that can adapt to your needs.

High Power For Main and Monitor Speakers
If you need a little more power 300 watts +300 watts and the added advantage of one-knob compression on mono channels, the EMX312SC may be the model you need.
Up To 8 Mics, 12 Inputs Total 2 Stereo inputs 300 W + 300 W (4) 3-band Channel EQ 7-band Stereo Graphic EQ One-knob Compression FCL System
These powered mixers certainly dont skimp on power. From the EMX212S with 200 watts per channel to the EMX512SC with a solid 500 watts per channel, theres a power configuration to suit any application and venue. All models also feature a power mode switch that lets you use the two power channels as a stereo amplifier, or you can use one of the channels for the main speaker(s) and the other to drive monitors with a separate monitor mix set up via the channel MONITOR controls.
SPX DIGITAL MULTI EFFECT PROCESSOR
The EMX212S, EMX312SC, and EMX512SC all feature a selection of 16 top-quality Yamaha SPX effects including reverb, echo, chorus, flanger, phaser, and even distortion that can add the final touch to your live presentation. Yamaha SPX digital effects are widely recognized as being some of the finest available, and the effects provided in the EMX mixers live up to that reputation.

MONO CHANNEL

STEREO CHANNEL

Built-in Graphic EQ

Graphic equalizers are provided for both the main and monitor channels, so you can effectively control feedback or tailor the sound to the match the room and program material.

Stand-by Mode

The lowest-powered model in the series offers a pair of 220-watt amplifiers per channel that should be more than sufficient for small-tomedium size venues.
When you're done with a set, simply engage the stand-by mode to mute all mono channels while leaving the 2-track inputs active for background music playback while you're taking your break.
Yamaha Club-series speakers are fine performers in their own right, but with Yamaha Speaker Processing you get extra-smooth highs and enhanced low-frequency output.
Up To 8 Mics, 12 Inputs Total 2 Stereo inputs 220 W + 220 W (4) 3-band Channel EQ 7-band Stereo Graphic EQ SPX Digital Effects
Power Select Switch Standby Mode YAMAHA Speaker Processing Lightweight Design Angled Cabinet Rack Mountable

An Inter view with the EMX Design Team
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers

New Features

* What is the main difference compared to previous EMX-series mixers? The main difference is built-in compression. Compression is indispensable in almost all professional recording and live-sound applications, but we believe that this is the first time it has been built into an analog live mixer. Most box type mixers have no insert connectors, so there has really been no convenient way to use compression with them. As a result, many users of this type of powered mixer have never used compression, but we wanted them to have that option in the new EMX series. Although compression is used in most pro audio applications, it has been a bit too difficult for beginners to take full advantage of. Thats why weve streamlined it down to the essentials and made it very easy to use. Another important new feature is FCL (Feedback Channel Location). This system detects feedback and shows you which channel is causing the problem. Some mixers from other manufacturers have indicators in the graphic equalizer section that show the feedback frequency, but indicating the problem channel allows the feedback to be more effectively controlled using channel EQ. If you try to control feedback using the EMX graphic equalizer, for example, you end up changing the sound of the entire program. For this reason it is far more effective to control it at the input, thus avoiding degradation of the overall sound. In the box-type 212C, 312SC, and 512SC, it was easy to mount the fan away from the circuit board to minimize degradation of the audio signal. But in the console-type EMX5016CF and EMX5014C finding the ideal fan location was extremely difficult. Since the fan must be located near the input circuitry, special measures have been taken to ensure that electronic and mechanical noise from the fan do not affect sound quality, while at the same time ensuring maximum heat extraction. The hardware team wanted to increase the size of the body by 30 millimeters, but our goals for a streamlined, compact design were important enough that we decided to find other ways to achieve the desired performance. 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.
0dBu=0.775V 0dBV=1V +40dBu +30dBu +20dBu +10dBu 0dBu -10dBu -20dBu -30dBu -40dBu -50dBu -60dBu -70dBu CH INPUT (PAD OFF) GAIN Max. [-60dBu] ST CH MIC [-60dBu] CH INPUT (PAD ON) GAIN Max. [-34dBu] CH INPUT (PAD OFF) GAIN Min. [-16dBu] ST CH MIC [-16dBu]

Clip level Clip level

PHONES

[3mW 40ohms]

EFF IN 1 EFF IN 2

(AMP SIGNAL SELECT) L AUX1 AUX1 YSP

EFFECT 2

PROGRAM PARAMETER EFF 2 ON YE ENC2 [A-D] INSERT[2] EFF2 ON EFF2 LED

POWER AMP 500W 200W 75W

LIMITER RE LIMITER PA

SPEAKERS

[500WMAX @ 4ohms]

EFF2 OUT L

EFF RTN

BA SUM INV R MONO AUX2

YS PROCESSING YE LIMITER 500W 200W 75W RE LIMITER INV PA

L AUX1 AUX1

EFF2 OUT R AUX1 AUX2 PFL [-6dBu] [-6dBu]

R MONO B AUX2

(METER SELECT)
ST AFL/PFL ST AFL/PFL DR DR

(LED METER)

SPEAKER OUT (+35.2dBu) MAXIMUM OUTPUT POWER [500W/4ohms] [125W/4ohms] (+29.2dBu)

Clip level

+40dB +30dB +20dB +10dB 0dB
CH INPUT (PAD ON) GAIN Min. [+10dBu]
ST CH LINE GAIN Min. [+10dBu] INSERT I/O [0dBu] ST CH IN [-10dBu] CH fader [-10dBu] CH & ST CH to ST [0dBu] (PAN,BAL Max.) ST SUB level control CH & ST CH to AUX/EFFECT [-6dBu] ST, AUX fader [-10dBu]
ST OUT, ST SUB OUT [+4dBu] AUX SEND, EFFECT SEND [+4dBu] [-6dBu] REC OUT [-10dBV] PHONES [-16dBu] [PHONES 3mW@40ohms]
-10dB -20dB -30dB -40dB -50dB -60dB -70dB
ST CH LINE GAIN Max. [-34dBu]
Reliability Without Compromising Performance
* The simplicity and aesthetic appeal of the designs are quite impressive. Tell us about the design concept. Simplicity was the main goal, particularly in the console-type 5016CF and 5014C. We wanted to consolidate the mixer controls, so the utility control section has been clearly separated. We didnt even want any handles to be visible. An important idea implemented in the box-type models is that they can be set at an angle like monitor speakers. The integral handles are also an important design feature, and achieving the required strength was a constant problem. 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 mechanics teams try to turn them into reality without ever reducing or compromising features or performance. Computer simulation was called into play once again, providing an accurate preview of the mold-flow characteristics of the resin used for the box-type housings. The final strength of the molded housings depends to a large degree on how the molten resin is introduced in the mold, and how it flows within the mold.
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. Theres 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 weve 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, greatsounding compression can be dialed in quickly and easily. Theres a good description of compression and its uses in the owners manual. We hope that our users will take advantage of this very useful feature.

XLR-3-31 type *3

Phone Jack *4

The Battle Against Heat

* Tell us about how you avoided heat problems in such compact enclosures. Heat and high power output unavoidably go handin-hand. In this case we were also determined to reduce weight, so the design, hardware, and mechanics teams joined forces to pursue this goal. Changing even a single component can alter the heat 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.

600 Lines 600 Lines

Phone Jack *5 RCA Pin Jack Phone Jack *5
*dBu is referenced to 0.775 Vrms. *2 Sensitivity is the lowest level that will produce an output of +4 dBu (1.23 V), or the nominal output level when the unit is set to maximum level. (All level controls are at maximum position.)
*3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) *4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) *5 Phone Jacks are unbalanced.
All level controls are nominal, when measured. Output impedance of signal generator: 150

OUTPUT CHARACTERISTICS

Rack Mount Adaptor RK5014
The EMX5016CF can be rack-mounted using an optional rack-mounting kit for optimum integration with any system or installation.
Output Terminals ST OUT [L, R] ST SUB OUT [L, R] AUX SEND 1, 2 EFF SEND 1, 2 CH INSERT OUT 1-8 REC OUT [L, R] PHONES [L, R] SPEAKERS Actual Source Impedance 100 0.1 For Use With Nominal 600 Lines 600 Lines 600 Lines 600 Lines 10 k Lines 10 k Lines 40 Lines 4 Speakers Output Level Nominal +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) 0 dBu (0.775 V) -10 dBV (316 mV) 3mW 125W Max. Before Clip +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +10 dBV (3.16 V) 75mW 500W 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

*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.
EMX5014C Block and Level Diagram
ST L(MUTE) ST R(MUTE) AUX 1(MUTE) AUX 2(MUTE) EFFECT (MUTE)
EMX512SC, EMX312SC, EMX212S Block and Level Diagram
ST L(NON-MUTE) ST R(NON-MUTE) AUX 1(NON-MUTE) AUX 2(NON-MUTE) EFFECT (NON-MUTE) GAIN:10dB PFL L/AFL L PFL R/AFL R

STANDBY

RE YE RE GR

[-6dBu] ST SUB OUT

FCL PEAK SIGNAL

L/MONO

EMX212S

[-8dBu] PHANTOM [-26dBu]

REC OUT

[-10dBV]

[-60dBu ~ -16dBu] B [-34dBu ~ +10dBu]

HA HPF

GAIN [-60dBu~ -16dBu] [-34dBu~ +10dBu]

80 COMP TH

CH Fader

3-Stage EQ

Lo Gain Mid f Mid Gain Hi Gain

PAN AUX1(PRE) AUX2

[+4dBu]

[0dBu] [0dBu]

GEQ ON

ST OUT

[-6dBu] [-6dBu] [-6dBu]

SUM SUM

9-Stage GEQ

INSERT I/O [0dBu]

EFFECT
INPUT B [-60/-30dBu] CH INPUT (CH1~4) INPUT A [-50/-20dBu]

[-26dBu]

EMX512SC/ EMX312SC

3-Stage EQ HIGH LOW MID

COMP TH

[-8dBu]

STA ND-BY (CH1-8 MUTE)

REC OUT [-10dBV] [-8dBu]

MIC/LINE

7-Stage GEQ

L(MONO) MAIN OUT [+4dBu] R

ST CH MIC

CH7/8, 9/10

[-30dBu ~ +14dBu]

PFL AFL
[-60dBu ~ -16dBu] L (MONO)

CH7L, 9L

MIC [-60dBu] CH INPUT (CH5/6, 7/8) LINE L/MONO [-20dBu]
125kHz 250kHz 500kHz 1kHz 2kHz 4kHz 8kHz
MONITOR [-26dBu] [-26dBu]

Maximum Output Power

EMX512SC EMX321SC EMX212S

LIMITER

PAN/BAL AUX1(PRE)

[0dBu] [-6dBu]

[-16dBu]
[0dBu] [0dBu] AFL [0dBu] AUX1 [-10dBu]
[500W 4ohms*2] [300W 4ohms*2] [200W 4ohms*2]
ST CH LINE IN [-34dBu ~ +10dBu] R

CH8R, 10R

[-34dBu~ +10dBu]

PEAK SIGNAL

ST CH Fader

AUX2 [-6dBu]

AUX SEND1
LINE R [-20dBu] MIC [-60dBu]

[-8dBu] [-34dBu]

MAIN L

MAIN (L+R) SUM

MONITOR FCL

AMP MODE

YSP ON YSProcessing LIMITER

A: L/MAIN(L+R) SPEAKERS

[0dBu] [0dBu] AFL [0dBu] AUX2 [-10dBu]

AUX SEND2

CH INPUT (CH9/10, 11/12) LINE L [-20dBu] LINE R [-20dBu]

-3, 0, 1 dB 20 Hz-20 kHz, ref to the nominal output level @ 1 kHz Less than 0.5 % (THD+N) +14 dB @ 20 Hz, 1 kHz, 20 kHz, GAIN control: all nominal Equivalent Input Noise, -115 dBu, Rs = 150 CH 1-4 MIC/LINE: MIC -65 dB CH 1-4: XLR and Phone CH 5/6, 7/8: XLR and Phone CH 9/10, 11/12: XLR and Pin HIGH (10 k, Shelving), MID (2.5 k, Peaking), LOW (100, Shelving) 15 V 7 Band (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz): Main (Stereo) and Monitor SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs MAIN L/R, MAIN (L+R)/MONITOR Effect On/Off 442 x 274 x 286 mm (17-3/8" x 10-3/4" x 11-1/4") 8 kg (17.6 lbs.) U/C: 120 V 60 Hz, 450 W H: 230 V 50 Hz, 450 W A: 240 V 50 Hz, 450 W U/C: 120 V 60 Hz, 400 W H: 230 V 50 Hz, 400 W A: 240 V 50 Hz, 400 W U/C: 120 V 60 Hz, 270 W H: 230 V 50 Hz, 270 W A: 240 V 50 Hz, 270 W
XLR-3-31 type *3 Phone Jack *5 XLR-3-31 type *3 RCA Pin Jack
Crosstalk @ 1 kHz Input Connectors EQ

CH INPUT 9/10, 11/12

Phantom Voltage Graphic Equalizer

Phone Jack *5

Digital Effects Power Amp. Mode
*dBu is referenced to 0.775 Vrms. *2 Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to maximum level. (All level controls are at maximum position.) *3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) *4 Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) *5 Phone Jacks are unbalanced.
Foot Switch Dimensions (W x D x H) Weight Power Requirements/Consumption
Output Terminals Actual Source Impedance For Use With Nominal EMX512SC SPEAKER OUT [A1, A2, B1, B2] MAIN OUT [L, R] EFFECT OUT 0.Speakers 10 k Lines 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) -10 dBV (316 mV) Max. Before Clip 500 W 300 W 200 W +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +10 dBV (3.16 V) Phone Jack *2 Phone Jack *2 Phone Jack *2 RCA Pin Jack [A1, B1] SPEAKON [A2, B2] Phone Jack *2 Connector
Output Terminals Actual Source Impedance 100 0.1 For Use With Nominal 600 Lines 600 Lines 600 Lines 600 Lines 10 k Lines 10 k Lines 8 /40 Lines 4 Speakers Output Level Nominal +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) 0 dBu (0.775 V) -10 dBV (316 mV) 1mW/3mW 125W Max. Before Clip +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +10 dBV (3.16 V) 20mW/75mW 500W 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
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation.
MONITOR OUT REC OUT [L, R]
The EMX5014C can be rack-mounted using an optional rack-mounting kit for optimum integration with any system or installation.

ST OUT [L, R] ST SUB OUT [L, R] AUX SEND 1, 2 EFFECT SEND CH INSERT OUT 1-6 REC OUT [L, R] PHONES [L, R] SPEAKER OUT

Rack Mount Adaptor RK512

All models in this series can be rack-mounted using an optional rackmounting kit for optimum integration with any system or installation.

EMX512SC, EMX312SC, EMX212S

Powered Mixers

EMX512SC

EMX312SC

EMX212S

Rear Panel

High-performance mixer, power amplifier, graphic EQ, and digital effects integrated into compact, portable units.
12 versatile inputs: 1 through 4 for mono microphone or line, 5/6 and 7/8 for mono microphone/line or stereo line
input, and 9/10 and 11/12 for stereo line input. Advanced Yamaha one-knob compressor on mono EMX512SC and EMX312SC input channels. Yamaha FCL system makes locating and eliminating feedback easier than ever. 16 digital SPX effect programs with adjustable parameters. Footswitch connector for effect on/off control. Standby switch can be used to mute performers inputs while the stereo inputs remain active for background music playback. High-quality, high power output with remarkably efficiency and low heat generation. Connectors for external power amplifiers and effect processors. Independent 7-band graphic equalizers for the stereo and monitor outputs. Yamaha Speaker Processing. OPTIONS Forced air keeps the system cool. RK512 FC5 Optional rack mount hardware.
Rack Mount Kit Foot Switch

GENERAL SPECIFICATIONS

Model Maximum output power 4 1kHz, THD+N 0.5% 8 / AC120V model 8 / AC220-240V model Total harmonic distortion Frequency response Equivalent input noise 20Hz-20kHz Crosstalk @1kHz Phantom voltage CH&ST CH equalizer 15dB maximum Effect Level meter FCL Sensitivity Protection Power Amplifier HIGH MID LOW EMX512SC 500W+500W 350W+350W 320W+320W Less than 0.5%, +14dBu@ 20Hz-20kHz 0, -3, +1dB, 20Hz-20kHz, 0dB@1kHz -115dBu -65dB +15V, CH1-4:INPUT B, CH5/6-11/12:MIC 10kHz (Shelving) 2.5kHz (Peaking) 100Hz (Shelving) 16 program, Parameter control FOOT SW (ON/OFF) 2x5 point LEDlevel meter[MAIN(L,R)] 5 point LED level meter [MONITOR] Input signal level -75dBu: LED on CH1-4 MIC/LINE:MIC B Input, CH5/6-11/12 MIC Input POWER switch on/off mute DC-fault Thermal / heatsink temp 90degrees celsius VI limiter / RL 2 Power supply Power consumption Dimensions (W x H x D) Weight Clip limiter / THD 1%, Indicator x 2 Thermal / heatsink temp 100degrees celsius 550W 442.5 x 284 x 264mm (17.4" x 11.2" x 10.4") 8.0kg (17.6lbs) 450W 350W EMX312SC 300W+300W 190W+190W 180W+180W EMX212S 220W+220W 130W+130W 130W+130W

INPUT SPECIFICATIONS

Input Terminal XLR CH INPUT 1-4 Phone CH INPUT 5/6,7/8 CH INPUT 9/10,11/12 XLR Phone XLR Pin MIC/LINE MIC LINE MIC LINE Actual Load For Use With Impedance Nominal Sensitivity Nominal 2k 6k 2k 10k 2k 10k Connector Max. Before Clip -60dBu -35dBu -15dBu 50-600 Mics XLR3-31 type* -30dBu -5dBu +15dBu -50dBu -25dBu -5dBu 600 Lines TRS phone jack** -20dBu +5dBu +25dBu Input Level

OUTPUT SPECIFICATIONS

Output Terminal SPEAKERS [A1,A2,B1,B2] MAIN OUT[L,R] EFFECT OUT MONITOR OUT REC OUT[L,R] Actual Source For Use With Impedance Nominal 0.1 Output Level Model Nominal 125W 75W 50W +4dBu +4dBu +4dBu -10dBu Max. before Clip 500W 300W 200W +20dBu +20dBu +20dBu +10dBu Connector [A1,B1]SPEAKON* [A2,B2]Phone jack* Phone jack** Phone jack** Phone jack** RCA pin jack**
EMX512SC 4 Speakers EMX312SC EMX212S 10k Lines 10k Lines 10k Lines 10k Lines -
50-600 Mics -60dBu -35dBu -15dBu XLR3-31 type** 600 Lines -20dBu +5dBu +25dBu Phone jack* 50-600 Mics -60dBu -35dBu -15dBu XLR3-31 type* 600 Lines -20dBu +5dBu +25dBu RCA pin jack**

600 600

DIMENSIONS

unit : mm

442.5 440

66.1 71

307.8 298