REPRINTED FROM SEPTEMBER 2006

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REVIEW

by Wayne Becker
Yamaha EMX 5014c Powered Mixer
Easy-to-use, great sonics embody latest EMX family member
Yamaha has always been known for making products that are high quality and packed with features. With the EMX series of powered mixers Yamaha appears to have continued this tradition. We all know the scenario: We have a small venue or event that requires a system to amplify a small band or group, but you want quality sound, easy setup, flexible routing and effects and the less pieces you have to schlep, the better. Well, if this is your short list, the EMX 5014 may fit the bill to a T. | FEATURES The EMX 5014 is a 14-input powered mixer with a two-channel power amp, and selectable power output of 500 watts, 200 watts or 75 watts per channel. This compact little brute weighs only 22 pounds. It is Yamaha gray/blue in color and can be rackmounted using the separately sold RK5014 rackmount kit. The layout of the mixer looks very clean and straightforward. At the top of desk are the connections for I/O: eight mic XLR inputs, six TRS line inputs, two stereo TRS or RCA inputs, a TRS +4 dBu external effects send, two TRS +4 dBu aux sends, a record out on a pair of RCA jacks, a stereo pair of TRS +4 dBu sub outputs, a stereo pair of TRS +4 dBu main outputs, a foot switch jack for muting the effect and a phones jack. The channel strip section is just below with six mono inputs channels and four stereo channels. Each of the mono channels has a 26 dB pad switch, gain control, 80 Hz high-pass filter switch, a compressor control knob, a feedback channel indicating LED, and an EQ section with 10 kHz shelving, sweepable mid section from 250 Hz - 5 kHz with a 15 dB cut/boost and a 100 Hz low-band shelving filter. The strip has two aux sends and a pre/post-fader switch for sending to the Aux 2 bus. Aux 1 is prefader. An internal effects level send, a pan, a channel on button, a peak and signal present LED (red and green respectively), a PFL
switch and the channel fader complete the strip. The stereo channels have gain control, 80 Hz high-pass filter, a fixed filter for high, mid and low (the mid is fixed at 2.5 kHz), then aux, effects pan, channel on, peak and signal present LEDs, PFL and fader just like the other channels. Next to the right is the internal effects channel strip. Here you can select one of 16 available Yamaha SPX quality effects programs ranging from halls, plates, rooms, chorus, flanger, auto wah distortion and the all important karaoke echo. A simple selection knob allows the selection of the effect and then a parameter knob lets you dial in the right amount of effect. You can send the effects to Aux 1 and Aux 2 and, of course, an on/off switch to allow the engaging of the effect. There is a master fader to control the effect return. In the last section, to the far right, you have a power LED followed by a nine-band graphic EQ with a bypass switch. There is a switchable global phantom power provided for all microphone inputs. There is a power amp selection output switch that allows you to select between 75 watt, 200 watt and 500 watt power output. A cool little output selection matrix lets you assign the amp outputs to channels for either stereo operation (main fader) Aux 1 and mono (main and monitor) or Aux 1 and Aux 2 (two completely different outputs). There is a special Yamaha-developed circuit called the YS processor that contours the output for non-sub output usage. Engaging this switch activates the process, which enhances bass frequency content and the result varies depending on the speakers used. There is a Channels 1 - 6 standby

Copyright 2006 JRS Publishing (USA), Inc. Reprinted with permission.
switch that allows you to mute the mic input channels and lights up to let you know its in use. An LED bargraph meter can be assigned to the stereo output or AFL/PFL. A phones control, subwoofer output PFL and AFL switches and the master stereo fader are also offered. On the back end of the unit are the connections for the speakers. Both Speakon and 1/4-inch jacks are provided. The power cable is removable and the power button is located just inside of the AC cable jack. The Feedback Channel Locating (FCL) system indicator LEDs at the top of each channel light if the corresponding channel goes into feedback is a pretty neat concept and nice for a novice. Like the single control compressor, there are many features and controls on this board geared toward the novice user to help them get a good mix and maintain the quality and control of the sound. I also like that the unit fea-
tures a range of inputs and outputs that allow it to be integrated into larger systems. Insert patch points on the mono input channels and aux and effect sends allow you to route the mixers signals to external signal processing and/or monitor systems as required. I have to say that I really liked the layout of this mixer. It is remarkably lightweight for having two 500 watt amps built in. I especially like the topside headphone jack and separate control. The unit is fairly quiet considering there are two fans, with the fans only ramping up as the amps heat up. In the idle state, the fans wont be the loudest thing in the room. The knobs and buttons arent the sturdiest I have ever felt - not like some of Yamahas other larger boards - but they certainly seem able to take years of tweaking and pressing. All the jack connectors seem top-notch and able to withstand repeated abuse. I also like the built in handle to the case for transporting the unit. You can probably even figure out a way to wrap the cord around the handle so that you dont even need the box, but Id get a soft cover case for it. | IN USE I used the unit to do a show for a small ensemble in a church sanctuary. The room was about 60 feet x 100 feet with typical drywall walls, hard floor tiles and acoustical ceiling tile - not the best-balanced room acoustically. The band was made up of two vocalists, an acoustic guitar, a keyboard and a wireless handheld microphone. I connected the mixer to two, two-way 200 watt speakers on stands. I selected the 75 watt amp mode as that was sufficient enough to fill the room for the gathering.
Setting up the system was very intuitive and we were ready to go in no time, although the effects channel took a little fiddling and figuring out. The compressors on the mic channels, although not a dexterous variety, proved to be very handy. I used the built-in effect. The room sound for the vocals was very nice. Most of the effects seemed to sound very nice and useful. Although the venue was not large, the board did handle the requirements and allowed us to provide quality sound in a room with a less than desirable acoustic signature. Everything went smoothly and the event was a success. I also think that its prudent to add that the manual provided was well written and easy to follow in a pinch. I always like seeing a signal flow chart, something that is not always available in other manuals. | SUMMARY I would recommend this powered mixer to anyone requiring quick, clean, reliable sound. The intuitiveness of the unit along with its flexibility allow the user to have quality sound for small bands or speaking engagements, without having to spend a whole lot of cash. The board is worth its price just for the price of the mixer and power amps - let alone the built in effects, compressors and output controls. I would like to thank Tim Madeira for his help in this review. Wayne Becker is vice president of sales for Communication Systems, Inc. and has worked in the pro audio and systems integration business for 23 years. He also owns Westwires Digital USA, a music production and consulting company based in Allentown, Penn. He can be contacted at wbecker@ systemsbycsi.com.

APPLICATIONS Live sound, contracting KEY FEATURES 14 input channels; nine-band master graphic EQ; Feedback Channel Locating; SPX effects; compressor; twin 500 watt amps PRICE $899 CONTACT Yamaha | 714-522-9011 ww.yamaha.com/proaudio
Reprinted from Pro Audio Review

"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.
Automatic Feedback Suppression
Although the graphic equalizer can be used for feedback control, the EMX5016CF provides a Feedback Suppressor system that is dedicated to the job. The Feedback Suppressor works by detecting feedback frequencies on the stereo bus and applying precise notch filters to eliminate the feedback. The Feedback Suppressor has an AUTO mode that automatically keeps track of and attenuates feedback frequencies for you, and a sensitive manual mode that lets you pinpoint and attenuate feedback points one by one.

System Example

500-watt Mains and Dual Monitors
In this basic system the EMX5016CF speaker outputs drive S115V speakers for solid front-of-house sound, while the sub-stereo outputs are connected to MSR400 powered speakers for stage monitoring.

Multi-band Maximizer

The EMX501CF Maximizer is an advanced 3-band compressor that can be applied to the stereo bus for a more punchy up-front overall sound. Simply press the MAXIMIZE switch to instantly give the mix more presence and impact without sacrificing musical subtlety.

EMX5016CF

ST SUB OUT L/MONO

Lamp Connector

ST SUB OUT R
Dual Yamaha SPX Effect Processors

unit: mm

Dimensions
(440 excluding screw heads)

Rear Panel

The EMX5016CF includes not one but two top-performance Yamaha SPX digital effect processors built in! You might only need ambience effects such as reverb and delay for live sound applications and the EMX5016CF includes some of the finest reverb and delay effects available but if you need other effects as well theyre right at your fingertips, and you can use two different effects simultaneously. Each effect processor offers a selection of 16 top-quality effects including reverb, echo, chorus, flanger, phaser, and even distortion, with editable parameters that allow you to customize each effect.

Speaker A

Dual AUX Sends
AUX 1 and AUX 2 send controls with pre/post fader switching adjust the level of the channel signal sent to the auxiliary buses for monitoring or external effects send. The availability of two AUX sends provides considerable flexibility for effect and monitor routing. You could, for example, use the channel EFFECT controls to control send level to the internal SPX effect processor while using AUX 2 to feed an external effects unit, and AUX 1 to feed a stage monitor system.

S115V (C115V)

FRONT L

MSR400

MONITOR
A Console-format Powered Mixer for Advanced Live Applications
More sources? Bigger venues? If your sound reinforcement requirements are getting serious, but you still want the convenience and reliable performance of a Yamaha powered mixer, check out the console-style EMX5014C. Heres an all-in-one solution that will appeal to bands and venue operators alike. The EMX5014C transports and sets up with the ease of systems built around the smaller EMX-series powered mixers, but will also prove its worth in more permanent installations. It can even be rack-mounted for vertical or angled operation, and real space savings! But of course the EMX5014C offers much more than just convenience. It provides a surprising palette of features and versatile signal routing options that can take your live sound to the next level. And its a Yamaha, so you know its going to sound great. "COMP" CHARACTERISTICS
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

Normally youll only need ambience effects such as reverb and delay for live sound applications and the EMX5014C includes some of the finest reverb and delay effects available built right in but if you need other effects as well theyre right at your fingertips. You can dial up a selection of 16 top-quality Yamaha SPX effects including reverb, echo, chorus, flanger, phaser, and even distortion. 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.

EMX5014C

Speaker B
AUX 1 and AUX 2 send controls, with pre/post fader switching for AUX 2, adjust the level of the channel signal sent to the auxiliary buses for monitoring or effects send. The available of two AUX sends provides considerable flexibility for effect and monitor routing. You could, for example, use the channel EFFECT controls to control send level to the internal SPX effect processor while using AUX 2 to feed an external effects unit, and AUX 1 to feed a stage monitor system.

Speaker A (Parallel)

Yamaha Speaker Processing
Youll undoubtedly want to use at least one pair of Yamaha Club-series speakers with the EMX5014C for the superior sound and projection they provide. If you do youll really appreciate the enhanced low-end output and high-end smoothness provided by built-in Yamaha speaker processing.

Rack Mountable

With the optional RK5014 rack-mount kit, the EMX5014C can be conveniently mounted in a portable or installed rack. This has been made possible by a combination of the mixers configuration and a highly efficient fan cooling system that ensures reliable, stable operation.

S112V (C112V)

FRONT R

SM12V (CM12V)

Integrated Solutions for Superior Live Sound
Experienced musicians, performers, speakers, and club operators know the importance of a high-quality sound system with the right features and performance to deliver their sound. Where portability and convenience are important criteria, a system based on a highperformance Yamaha EMX-series powered mixer is definitely the way to go. In one integrated, portable unit you have a mixer to combine and balance your microphone, instrument, and line sources, effects to refine and polish your sound, and power to drive the main speakers and even monitor speakers as well. But thats nowhere Angled Cabinet near the whole story Yamaha EMX-series Powered Mixers offer a range of for Easy Access This thoughtful feature makes the control features that let you mix, process, and deliver your sound with maximum quality panel easy to see and access when the unit is and creative control and, of course, that unrivalled Yamaha sound. placed on the floor.
"COMP" CHARACTERISTICS
Features For Superior Sound and Convenience

Great Yamaha Sound

Yamaha is a leader in the field of professional live sound for a very good reason: we deliver the sound and performance that the pros demand. The EMX-series powered mixers are no exception. Theyre built at the same standards of sonic performance and rugged reliability that makes Yamaha the first choice for live sound applications from schools to stadiums around the globe.

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

442 274

Durable, Lightweight Design
The EMX powered mixers offer the ideal combination of outstanding sound performance and easy handling. Theyre lightweight only 8 kilograms (17.6 lbs.) and feature conveniently located handles for maximum carrying comfort. Theyre also built tough to withstand the rigors of use on the road.
EMX5016CF Block and Level Diagram
ST L (MUTE) ST R (MUTE) AUX 1(MUTE) AUX 2 (MUTE) EFFECT1 (MUTE) EFFECT2 (MUTE)

PHANTOM

ST L (NON-MUTE) ST R (NON-MUTE) AUX 1 (NON-MUTE) AUX 2 (NON-MUTE) EFFECT1 (NON-MUTE) EFFECT2 (NON-MUTE)

CH INPUT

PFL L/AFL L PFL R/AFL R

[-6dBu]

STAND-BY RE BA L/MONO ST SUB OUT [+4dBu] R

INPUT A

[-60dBu~ -16dBu] 80 GR COMP HPF LOW Mid f COMP (TH) MID HIGH 26dB GAIN [-60dBu~ -16dBu] [-34dBu~ +10dBu] 3-Stage EQ PAD HA
PEAK SIGNAL (CH Fader) [-10dBu] BA [0dBu] PRE PRE [0dBu] PAN AUX1 AUX2 EFF 1 EFF 2 YE [-6dBu] [-6dBu] [-6dBu] [-6dBu]

ST SUB OUT

INPUT B

[-60dBu~ -16dBu]

[0dBu]

[-10dBu]

SUM [0dBu] SUM [0dBu] ST L A/D

ST OUT L

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.

INSERT

[0dBu] BA

ON PFL

Multi Band Comp. [0dBu] ST R

GEQ + FRC ST OUT R

ST OUT [+4dBu] BA R

ST CH INPUT

CH9/10,11/12,13/14,15/16 [-30dBu~ +14dBu] HA HPF 80 PFL AFL INV HA [0dBu] 3-Stage EQ [0dBu] [-10dBu] BA [0dBu] PAN/BAL PRE AUX1 LOW MID HIGH RE PEAK SIGNAL GR 3-Stage EQ BA ON YE GAIN [-34dBu~ +10dBu] (ST CH Fader) PRE AUX2 [-6dBu] [0dBu] SUM [-6dBu] SUM [0dBu] SUM [0dBu] [0dBu] AUX1 [-10dBu] BA AUX 1 [+4dBu] L REC OUT [-10dBV] R
CH9L,11L,13L,15L [-34dBu~ +10dBu]

ST CH LINE

AFL [0dBu] AUX1 SUM [0dBu] SUM [0dBu] [-10dBu] BA AUX 2 [+4dBu]
CH10R,12R,14R,16R [-34dBu~ +10dBu] PFL

EFF 1 EFF 2

[-6dBu] [-6dBu]

AFL [0dBu]

EFF 1 [+4dBu]

EFF1 ON/OFF

FOOT1 D/A FOOT2 EFF1 OUT L EFF1 RTN [-10dBu] BA
[0dBu] SUM [0dBu] PHONES [-16dBu] INV BA EFF 2 [+4dBu] PHASE
SUM D/A EFF1 OUT R AUX1 AUX2 PFL [-6dBu] [-6dBu] BA

EFF2 ON/OFF

EFFECT 1
PROGRAM PARAMETER EFF 1 ON YE ENC1 [A-D] INSERT[1] EFF1 ON EFF1 LED
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]

EMX5016CF Specifications

GENERAL SPECIFICATION
EMX5016CF Maximum Output Power @ 0.5 % THD at 1 kHz Frequency Response Total Harmonic Distortion Hum & Noise Crosstalk @ 1 kHz Input Connectors CHANNEL EQ Phantom Voltage Digital Graphic Equalizer Digital Effects Power Amp. Mode Foot Switch Dimensions (W x D x H) Weight Power Requirements/Consumption 500 W/W/8 (UA) 320 W/8 (H) -3, 0, 1 dB 20Hz-20kHz, ref to the 1kHz output level, GAIN=MIN, PAD=OFF Less than 0.3 % (THD+N) +14dBu output into 600 @ 20 Hz-20 kHz Equivalent Input Noise, -128 dBu, GAIN=MAX, 20 Hz-20 kHz, CH1-8 MIC -68 dB CH 1-8: XLR and Phone 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) CH 9/10-15/16: HIGH (10 k, Shelving), MID (st: 2.5 k, Peaking), LOW (100, Shelving) 48 V 9 Band (63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k, 16 kHz), Preset x 3, User preset x 3 SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs x 2 L/R, AUX1/MONO, AUX1/2 Effect On/Off 444 x 493 x 155 mm (17-3/8" x 19-3/8" x 6-1/8") 11 kg (24.2 lbs.) 120 V 60 Hz, 500W 220-240 V 50 Hz, 500W
CH INSERT IN (1-8) ST CH LINE INPUT 9/10-15/16 +10 dB 10 k CH INPUT B 1-8 -34 dB 26dB +10 dB ST CH MIC INPUT 9/10-15/16 -60 dB -16 dB -34 dB 10 k 3 k 50-600 Mics 0dB -16 dB 10 k 600 Lines CH INPUT A 1-8 -34 dB 26dB +10 dB -60 dB

INPUT CHARACTERISTICS

Input Terminals PAD GAIN -60 dB 0dB -16 dB 3 k 50-600 Mics Actual Load Impedance For Use With Nominal Input Level Sensitivity *2 -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -20 dBu (77.5 mV) Position -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) 0 dBu (0.775 V) Max. Before Clip -40 dBu (7.75 mV) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 V) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 mV) -10 dBu (245 mV) -14 dBu (155mV) +30 dBu (24.5 V) +20 dBu (7.75 V) Connector

*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