Yamaha Emx 5000 Service Manual
Yamaha EMX5000‡12 Powered mixer A couple of innovative design features and top‡quality built‡in effects help this versatile stage desk to stand out from the crowd. Yamaha have built mixers and similar and we’ve power amplifiers for as long as chosen to review the I¥can remember, and they’re also 12‡channel version. A¥major player in the field of digital effects The EMX5000‡12 — so it’s only reasonable to have high expectations in all areas of performance Outwardly, the EMX5000‡12 is when they produce a¥powered live mixer a¥fairly straightforward mixer, not with effects. Two models in the EMX series much deeper than a¥normal stand‡alone are available, a¥12‡channel version and mixing desk, but under the hood is Test a¥20‡channel version.
Aside from the a¥500W‡per‡channel stereo power amplifier number of input channels, the two are that uses Yamaha’s new ‘EEEngine’ info. Use, though it’s no featherweight — the EMX5000‡12 weighs a¥hefty 15kg, so it’s just as well that its arm-restdoubles as a¥carrying handle. Unusually, Yamaha have included a¥power‡switching feature that allows the user to select between three maximum output levels (500, 300 or 100W per channel), to suit the size of room being played. This could also be useful if you connect speakers with a¥lower power rating than the maximum, to avoid overdriving them. As you’d expect, the amplifiers are fully protected against short‡circuited outputs, DC offset or overheating, while limiters in the signal path prevent clipping under high signal conditions. The amplifier can be used in mono bridge mode (1000W) or may be used to drive a¥main speaker in mono plus a¥separate monitor, the latter fed from Aux 1. A¥further permutation allows both channels to be used to drive monitors (sourced from Aux 1 and 2) for situations in which the EMX5000 is being used purely as a¥monitor mixer.
Another unusual feature is the incorporation of two effects processors, each fed from its own post‡fade send pot. Each can produce 16 ‘SPX’‡style effects. The first nine effects produced by each ‘engine’ are identical and comprise reverbs and delays, while the remaining seven differ between the two engines and include various specialised vocal treatments, special effects such as ‘Radio Voice’, pitch shifting, modulation effects, and Yamaha’s classic ‘multi‡chorus’ Symphonic treatment. A¥single Parameter control per effect processor allows the most important elements of each preset to be adjusted. The delay includes a¥very welcome tap‡tempo function enabling the delay time (of the tap‡delay program only) to be set very quickly during a¥performance. Constructionally, the mixer is pretty much what you’d expect from Yamaha — steel chassis, sleek lines and a¥clear layout, though I’d swear the knobs are more Mackie‡like than on previous models.
The only connections not accessible from the top panel are the power inlet and the speaker outputs, the latter on both Speakons and quarter‡inch jacks. In normal use, the minimum speaker load is 4Ω per channel, while in bridge mode the minimum load is 8Ω. It’s unusual to have the choice of jack speaker outputs on an amplifier this powerful but it is, nevertheless, welcome, as anyone who has ever turned up at a¥gig with faulty or missing Speakon cables will testify. The majority of the audio connections are on jacks, other than the Speakons, the XLR mic inputs and the phono connections for consumer recording and playback devices.
Aside from the balanced mic and line inputs, ». » most of the connections are unbalanced, which may seem unusual, but then the majority of connections used by gigging musicians, as opposed to professional PA operators, do tend to be unbalanced. Technically, the mixer has a¥robust but non‡esoteric specification, including a¥20Hz‡20kHz frequency response (+1dB/‡3dB) and a¥mic-ampEIN (Equivalent Input Noise) figure of ‡128dB.
Distortion is less than 0.5 percent from input to speakers and the quoted levels of hum and crosstalk are more than adequately low for a¥product of this type. The inevitable tour This particular mixer has eight mic/line channels and a¥further two stereo line‡only channels. Its mono channels are fairly conventional, with an input‡gain trim control, a¥26dB pad switch and a¥choice of XLR mic or balanced‡jack line inputs. A¥further TRS jack provides a¥channel insert point and there’s also a¥switchable 80Hz low‡cut filter. There’s no mic/line switch — you simply plug into the appropriate socket. Most mixers of this size have three‡band equalisers and this one is no exception, though the mid frequency is sweepable between 250Hz and 5kHz.
Personally, I’d have liked it to go a¥little lower, as there are often boxy artifacts in the 150‡250Hz range “There are few (if any) features that aren’t needed, and it’s built like a¥tank.” that need a¥little cut, but you have to accept compromises when the EQ has only three bands. The high and low controls are conventional shelving filters operating at 10kHz and 100Hz respectively, and all three bands have a¥+/‡15dB gain range.
Following the EQ are two Aux sends, each switchable from pre‡fade to post‡fade by means of buttons in the channel strip, after which there are two further effects sends dedicated to feeding the two internal effects engines. These two effects busses also feed physical output jacks so that external effects can be used instead of the. On the rear panel you’ll find the speaker outputs, available (usefully) on both Speakon and quarter‡inch jack connectors. Internal ones, if required. That leaves a¥conventional pan control, a¥channel On button, a¥PFL (Pre Fade Listen) button and a¥75mm channel fader.
The On button has a¥bright status LED, while two further LEDs indicate the presence of signal in the channel (green) and levels 3dB below clipping, measured post‡EQ (red). Phantom power (48V) is global and is activated using a¥slide switch above the mic inputs. A¥red status LED above the channel trim controls shows when this is turned on. The stereo channels have the same general layout as the mono channels but are line‡only, with no pad or filter switches.
In addition, the EQ has no swept mid, instead having a¥fixed mid frequency of 2.5kHz. As these are stereo channels, a¥balance control takes the place of the pan control, but the aux and effect send arrangement is identical to that of the mono channels. The inputs are available on both jacks and phonos, allowing the easy connection of CD players and so on. Two further simple stereo line inputs are available as Sub inputs (they can also be used in mono by inserting a¥jack into only the left input socket) and their controls reside in the master section. These have basic level controls plus sends for Aux 1 and 2, enabling them to be fed to stage monitors. They also have PFL buttons for monitoring purposes via the headphone output, and they can be used as effect returns when connecting external effects devices.
Tape inputs and outputs are also available on phonos for recording gigs and playing back the evidence! A¥tape‡return level control is situated in the master section, along with a¥PFL button. Master section To the left of the master section are the two effects sections, each controlled by means of a¥16‡way rotary effect‡selector switch and the Parameter control I¥mentioned earlier, which varies the most important parameter of the selected effect. Each A mono channel strip from the EMX5000‡12. Of the two effect processors also has an Aux 1 and an Aux 2 control, allowing a¥specified amount of effect to be sent to the stage monitor outputs.
At the bottom of each effect strip is an On button with a¥bright yellow indicator LED. The second effect processor can be bypassed using an optional footswitch, and a¥second footswitch jack is available for setting the delay tap tempo, which is useful if you’re both performing and mixing yourself from the stage. To the right of the footswitch jacks is an XLR that provides 12V power to an optional lamp — again, extremely useful, especially in dark venues. All the major functions in the master section have their own fader — namely Effects Return 1 and 2 for the on‡board effects, Aux 1 and 2 sends, Mono Out and the main Stereo Out. Above the last are the PFL (Pre Fade Listen) and AFL (After Fade Listen) switches (see ‘Jargon explained’ box). The Mono output may be used to feed a¥subwoofer and has a¥recessed switch that brings in a¥low‡pass filter. This operates between 80Hz and 120Hz and can be manually adjusted via a¥recessed pot accessible with a¥screwdriver.
Yamaha Emx 660 Powered Mixer
When the amp mode is set to ‘PA plus monitor’, as explained earlier, the Mono Out fader also adjusts the level of the ‘speaker B’ outputs and, if mono bridge mode is selected, sets the level of the ‘speaker A’ outputs. The main outputs are unaffected by the low‡pass filter settings, so if you need to restrict the low‡end feed going to the main speakers when using a¥sub‡woofer you’ll have to arrange this some other way — for example, by using an active crossover processor (see ‘Jargon explained’ box). The switch that changes the amplifier outputs between their various modes (stereo, bridged mono, ‘mono plus monitor’ or two monitors, as listed earlier) is located to the right of the effects section near the top of the panel. Here you’ll also find the three‡way switch that sets the maximum power available, a¥‘Yamaha Speaker Processing’ switch, and a¥standby button that mutes the mono channels but leaves the stereo channels active for carrying interlude music or whatever else you need. Yamaha Speaker Processing is essentially an alternate low‡end voicing that can be used to compensate for the tonality of some speakers.
Really, you just have to try. It with your speakers and see if they sound better with it or without it. Below these switches is a¥nine‡band graphic equaliser with bands set at 125Hz, 250Hz, 500Hz, 1kHz, 2kHz, 4kHz, 8kHz and 16kHz, all with a¥+/‡12dB range. The equaliser affects the main stereo output and the stereo line output, and because the controls are stereo there’s no way to use different EQ settings on the main and monitor outputs when the mixer is used in ‘mono plus monitor’ mode. The graphic EQ can be bypassed when not needed, and though nine bands is far too few to use for accurate feedback suppression, it is useful for compensating for room or speaker characteristics in a¥fairly general way. A stereo bargraph meter in the master section monitors the two master channels, and directly below this is the headphone level control and the stereo Sub Out level control, which also has both PFL and AFL switches.
Emx 640 Yamaha Power Mixer
This output essentially duplicates the main stereo output but has independent level control, so if you were to drive an additional power amp and speakers from it, you could control the level independently of the other speakers driven directly from the EMX5000’s amplifier. Test driving With a¥mixer like this, I¥look for clarity of interface, quiet mic amps and good‡sounding EQ, as well as bomb‡proof construction. On all counts the EMX5000. Comes out well, and the mid‡band EQ is particularly adept at tuning out honky mid‡range artifacts, though I’d still have liked more low range on the sweep control.
A¥small gripe is that the headphones always monitor the PFL/AFL buss, rather than being switchable to various useful sources, though in live‡sound situations the former is usually enough to manage with. I’ve tested several other mixers with built‡in effects, and it comes as a¥pleasant surprise to find one with such good‡sounding effects — including reverbs whose decay time can be tamed to a¥useful degree, using the Parameter knob. Also, having two sets of effects makes it easy to combine different effects, to allocate different effects to different mixer channels, or to set up two different vocal treatments and then switch between them very easily. Another very nice feature which the manual rather underplays is that any change you make to the parameter knob for an effect is remembered when you change patches. I¥also checked what happened when the mixer was powered down — and it came back up with my modified effects settings still intact! In other words, you get a¥degree of programmability without having to go through any save or load routines.
I’d have felt happier with a¥clip LED at the input to the effects processors but, despite piling on a¥lot of send level, I¥never actually managed to coax any audible distortion from the effects. The graphic equaliser works as well as any nine‡band equaliser can be expected to and is certainly better than nothing when struggling with feedback problems, though it is really of more use for general room‡sound tailoring. However, I¥think Yamaha have missed a¥trick by not providing two sets of mono controls, so that one equaliser could Part of the master section, showing the clearly laid‡out dual effects processors (far left). One parameter of each selected effect is available for tweaking via the Parameter knobs. At the top right you can see the power amp controls, with limiters.
Yamaha Emx 5000 Service Manual Free
Below them is the nine‡band graphic equaliser section.