YAMAHA EMX232S User Guide

POWERED MIXER

POWERED MIXER

Owner’s Manual

Owner’s Manual

Quick Guide

Pages 6 to 12

Making the Most of Your Mixer

Pages 13 to 19

EN

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

The above warning is located on the rear of the unit.

IMPORTANT SAFETY INSTRUCTIONS

Explanation of Graphical Symbols

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.

1 Read these instructions.
2Keep these instructions.
3 Heed all warnings.
4 Follow all instructions.
5 Do not use this apparatus near water.
6 Clean only with dry cloth.
7 Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8 Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.

9 Do not defeat the safety purpose of the polarized or

grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.

10 Protect the power cord from being walked on or pinched

particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.

WARNING

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.

IMPORTANT

Please record the serial number of this unit in the space below.

11 Only use attachments/accessories specified by the

manufacturer.

12 Use only with the cart, stand,

tripod, bracket, or table specified
by the manufacturer, or sold with
the apparatus. When a cart is
used, use caution when moving
the cart/apparatus combination
to avoid injury from tip-over.

13 Unplug this apparatus during

lightning storms or when unused for long periods of
time.

14 Refer all servicing to qualified service personnel.

Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally,
or has been dropped.

(98-6500)

Model:
Serial No.:

The serial number is located on the bottom or rear of the unit.
Retain this Owner’s Manual in a safe place for future reference.

2

EMX512SC/EMX312SC/EMX212S

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

Power supply/Power cord

• Only use the voltage specified as correct for the device. The required voltage is
printed on the name plate of the device.

• Use only the included power cord.

• Do not place the power cord near heat sources such as heaters or radiators, and do
not excessively bend or otherwise damage the cord, place heavy objects on it, or
place it in a position where anyone could walk on, trip over, or roll anything over it.

• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.

Do not open

• Do not open the device or attempt to disassemble the internal parts or modify
them in any way. The device contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immediately and have it inspected
by qualified Yamaha service personnel.

Water warning

• Do not expose the device to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.

• Never insert or remove an electric plug with wet hands.

If you notice any abnormality

• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the device, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the device inspected by
qualified Yamaha service personnel.

• If this device should be dropped or damaged, immediately turn off the power
switch, disconnect the electric plug from the outlet, and have the device
inspected by qualified Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the device or other property. These precautions include, but are not limited to, the following:

Power supply/Power cord

• Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.

• When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.

Location

• Before moving the device, remove all connected cables.

• When setting up the device, make sure that the AC outlet you are using is easily
accessible. If some trouble or malfunction occurs, immediately turn off the
power switch and disconnect the plug from the outlet.

• If this device is to be mounted in an EIA-standard rack, leave the back of the rack
open and make sure that it is at least 10 cm away from walls or surfaces. Also, if
this device is to be mounted with devices that tend to generate heat, such as
power amplifiers, be sure to keep an adequate gap between this device and the
heat-generating devices or install ventilation panels to prevent high
temperatures from developing inside this device.
Inadequate ventilation can result in overheating, possibly causing damage to the
device(s), or even fire.

• Do not use the device in a confined, poorly-ventilated location. If this device is to
be used in a small space other than an EIA-standard rack, make sure that there is
adequate space between the device and surrounding walls or other devices: at
least 10 cm at the sides, 25 cm behind and 15 cm above. Inadequate ventilation
can result in overheating, possibly causing damage to the device(s), or even fire.

•Avoid setting all equalizer controls and faders to their maximum. Depending on
the condition of the connected devices, doing so may cause feedback and may
damage the speakers.

• Do not expose the device to excessive dust or vibrations, or extreme cold or heat
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.

• Do not place the device in an unstable position where it might accidentally fall over.

• Do not block the vents. This device has ventilation holes at the rear and side to
prevent the internal temperature from becoming too high. In particular, do not
place the device on its side or upside down. Inadequate ventilation can result in
overheating, possibly causing damage to the device(s), or even fire.

• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Doing so may result in noise, both in the device
itself and in the TV or radio next to it.

Connections

• Before connecting the device to other devices, turn off the power for all devices.
Before turning the power on or off for all devices, set all volume levels to minimum.

• Use only speaker cables for connecting speakers to the speaker jacks. Use of
other types of cables may result in fire.

Handling caution

• When turning on the AC power in your audio system, always turn on the device
or external power amplifiers LAST, to avoid speaker damage. When turning the
power off, the device or external power amplifiers should be turned off FIRST for
the same reason.

• Do not insert your fingers or hands in any gaps or openings on the device
(vents, etc.).

•Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device (vents, etc.) If this happens, turn off the power
immediately and unplug the power cord from the AC outlet. Then have the
device inspected by qualified Yamaha service personnel.

• Do not use the device for a long period of time at a high or uncomfortable
volume level, since this can cause permanent hearing loss. If you experience
any hearing loss or ringing in the ears, consult a physician.

• Do not rest your weight on the device or place heavy objects on it, and avoid use
excessive force on the buttons, switches or connectors.

(5)-4 2/3

EMX512SC/EMX312SC/EMX212S

3

XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).
Use only Neutrik plugs (NL4) for connecting Speakon connectors.

Yamaha cannot be held responsible for damage caused by improper use or modifications to the device.

Always turn the power off when the device is not in use.

The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualified Yamaha service
personnel about replacing defective components.

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the termi­nals in your plug proceed as follows:

The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by
the safety earth symbol or coloured GREEN or GREEN-and-YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires)

GREEN-AND-YELLOW : EARTH
BLUE : NEUTRAL
BROWN : LIVE

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions con­tained in this manual, meets FCC requirements. Modifications not
expressly approved by Yamaha may void your authority, granted by
the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/

or another product use only high quality shielded cables. Cable/s
supplied with this product MUST be used. Follow all installation
instructions. Failure to follow instructions could void your FCC
authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the

requirements listed in FCC Regulations, Part 15 for Class “B” digi­tal devices. Compliance with these requirements provides a rea­sonable level of assurance that your use of this product in a
residential environment will not result in harmful interference with
other electronic devices. This equipment generates/uses radio fre­quencies and, if not installed and used according to the instruc­tions found in the users manual, may cause interference harmful to
the operation of other electronic devices. Compliance with FCC

regulations does not guarantee that interference will not occur in all
installations. If this product is found to be the source of interfer­ence, which can be determined by turning the unit “OFF” and “ON”,
please try to eliminate the problem by using one of the following
measures:

Relocate either this product or the device that is being affected by
the interference.

Utilize power outlets that are on different branch (circuit breaker or
fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the
antenna. If the antenna lead-in is 300 ohm ribbon lead, change the
lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results,
please contact the local retailer authorized to distribute this type of
product. If you can not locate the appropriate retailer, please con­tact Yamaha Corporation of America, Electronic Service Division,
6600 Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

About this Manual

This manual is divided into two main sections, as follows.

■ Mixer Basics (starts on page 6)

Presents a general explanation of mixers and mixer concepts. Includes a Quick Guide that will help beginners get up to speed very quickly.

■ EMX Setup and Operation (starts on page 20)

Provides detailed information about the EMX. Introduces the EMX features, identifies and explains the controls, indicators, and connec­tors; and explains how to set up the equipment.

* This manual applies to models EMX512SC, EMX312SC, and EMX212SC. Within this manual, the term “EMX” is used to refer to all three of these models.

* Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation.

* Company names and product names herein are trademarks or registered trademarks of their respective companies.

Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all
copyrights, and consult with a copyright specialist if you are in doubt about permissible use.

4

EMX512SC/EMX312SC/EMX212S

Thank you for your purchase of this Yamaha EMX512SC, EMX312SC, or EMX212S power mixer.
Please read through this manual carefully before beginning use, so that you will be able to take full
advantage of your mixer’s superlative features and enjoy trouble-free operation for years to come. After
reading the manual, please store it in a safe place.

Contents Features

■ Basic

Quick Guide 6

Before Turning On the Mixer........................................ 6

Getting Sound to the Speakers.................................... 7

Adding Some Reverb................................................. 11

Using the Compressors to Enhance Vocals .............. 12

Making the Most of Your Mixer 13

A Place for Everything and Everything in its Place .... 13

A Plethora of Connectors—What Goes Where? ... 13

Balanced, Unbalanced—What’s the Difference? .. 14

Signal Levels and the Decibel.................................... 15

Making Better Mixes................................................... 15

Approaching the Mix—Where Do You Start? ...... 15

To EQ or Not to EQ.............................................. 16

Ambience ............................................................. 17

The Modulation Effects: Phasing, Chorus,

and Flanging ........................................................18

Compression........................................................ 18

■ Reference

Controls and Connectors 20

Controls on Each Channel ......................................... 20

Digital Effects Section ................................................ 22

MAIN Section ............................................................. 23

MONITOR Section ..................................................... 24

POWER Section ........................................................ 25

Rear Panel ................................................................. 26

Connecting Speakers 27

Horizontal Orientation, Tilting and
Rack Mounting 28

Horizontal Orientation ................................................28

Tilting ......................................................................... 29

Rack Mounting ........................................................... 29

Input Channels..................................... page 20

The EMX offers four monoaural mic/line input channels (1
to 4) and four stereo input channel pairs (5/6 to 11/12),
allowing you to freely mix inputs from microphones, line­level devices, and stereo devices. For example, you can
mix four microphones with four stereo devices, or seven
microphones with one stereo synthesizer.

Phantom Power (+15V)........................page 25

A single switch turns phantom power on to all mic inputs.
Use this feature to provide power to condenser microphones.

High-Quality Digital Effects ................ page 22

The mixer’s internal effector is in the same league as our
SPX effector series, allowing you to create a rich range of
variations with no external help. But of course you are also
free to use the EFFECT OUT jack to connect to an external
effector of your choice.

MAIN and MONITOR Outputs ............. page 23

The mixer offers excellent independent control of main and
monitor output. The top panel offers separate main and
monitor outputs, while the POWER AMP switch can be
used to set the SPEAKERS jacks so that they output either
the main signal to both speakers or else the main signal to
one speaker and the monitor signal to the other. Separate
MASTER control knobs and 7-segment graphic equalizers
are also provided.

Compressors (EMX512SC and

EMX312SC only) .................................. page 21

Compressors on channels 1 to 4 can be used to squeeze
the dynamic range of inputs such as microphones and
acoustic guitars, attenuating the higher levels and bringing
out the lower ones. This feature helps reduce distortion and
allows overall volume to be set higher, resulting in a stron­ger and more impressive sound.

Tilt Setup or Rack Mount ................... page 29

The EMX can be positioned at an angle or mounted in a
rack, allowing for easy accessibility in a wide variety of set­ups.

Setting Up 30

Troubleshooting 31

Specifications 32

Internal Power Amp.............................page 25

The internal amp makes it possible to connect the SPEAK­ERS jacks directly to non-powered speakers, with no need
for an external amplifier in between. The rear panel offers
two types of speaker connectors: phone jacks and Neutrik
Speakon jacks.

EMX512SC/EMX312SC/EMX212S

5

BASIC

Quick Guide

Before Turning On the Mixer

■ Connecting to Power

1 Be sure that the POWER switch is in the OFF position.
2 Connect the included power cord to the AC IN connector on the rear panel.

3 Plug the power cord into a standard power outlet.

■ Turning the Unit On and Off

NOTE

• To prevent an unpleasant burst of noise from the speakers, you should power up the sound sources first, and then the other devices in

order of their distance from the source (starting with the closest).

For example: Sound source (external device)

When turning power off, proceed in the opposite order.

• Before turning power on, make sure that the LEVEL and MASTER knobs are set to the “0” position.

→

EMX unit → Amps (Powered speakers)

1 Push the POWER switch in to turn the power ON.

The power lamp lights up to indicate that power is on. To turn the power off, push the switch again, so that it
pops out.

6

EMX512SC/EMX312SC/EMX212S

Getting Sound to the Speakers

We begin by connecting up two speakers and generating some
stereo output. Note that operations and procedures will vary
somewhat according to the input devices you are using.

BASIC

Quick Guide

5
3

2,8

2,7,9

4

6

1

1 Connect up the speakers and your input devices

(microphones, instruments, etc.)

Use non-powered speakers and dedicated speaker cable. Connect one speaker
to SPEAKERS jack A (A1 or A2), and the other to jack B (B1 or B2). Then con­nect your input devices (microphones, guitar, etc.) to the appropriate input jacks
on the top panel. For details, see page 30.

RIGHT WRONG!!

1

Before connecting input
devices to the EMX, be sure
that all of these devices (includ­ing microphones) are powered
off. And before turning the
power to any device on or off,
be sure to turn the volume of
that device all the way down.
Neglect of these precautions
may result in large noise bursts
that may damage your equip­ment, your ears, or both.

NOTE

We recommend that you do not
connect electric instruments
(such as electric guitars and
basses) directly to the EMX.
Instead, these instruments
should be connected through
an intermediary device such as
a direct box, a preamp (guitar
amp), or an amp simulator.

Never connect both A and B
jacks to a single speaker. Con­nection of both jacks to the
same speaker may result in
damage to the mixer.

EMX512SC/EMX312SC/EMX212S

7

BASIC

Quick Guide

2 Turn the LEVEL knobs and the MASTER knobs to 0.

This position

This position

3 Set the POWER AMP switch to its upper position

(to MAIN L-R).

For information about this switch, see page 25.

8

EMX512SC/EMX312SC/EMX212S

4 If you have connected input devices to channels 1 to 4, set

the LINE/MIC switch on each channel accordingly.

If you have connected a line-level device, such as a keyboard or audio device,
set the channel’s switch to the LINE position ( ). If you have connected a
microphone or other mic-level device, set the switch to the MIC position ( ).

BASIC

Quick Guide

5 If you are using one or more condenser microphones for

your inputs, set the PHANTOM switch to the ON position
().

6 Turn on the power.

First turn on the power to all connected devices other than powered speakers
and amp, and then turn on the EMX itself. If using powered speakers or amps,
turn these on last.

• Be sure to leave this switch
off if you do not need phan­tom power.

• When using phantom power,
do not connect any devices
other than condenser micro­phones to the XLR input
jacks. Other devices may be
damaged if connected to
phantom power. This precau­tion does not apply to bal­anced dynamic microphones,
however, as these will not be
affected by phantom power.

• Before turning the PHAN­TOM switch ON or OFF, be
sure to turn off the power to
the mixer and to all other
devices having internal
amplifiers. It is also recom­mended that you set both
MASTER knobs to their “0”
position. Neglect of these
precautions may result in
damage to speakers, to other
equipment, or to your ears.

EMX512SC/EMX312SC/EMX212S

9

BASIC

Quick Guide

7 Turn the MASTER knob in the MAIN section to the posi-

tion.

This position

8 Adjust the LEVEL knobs for all occupied channels.

For each input device you have connected: Generate sound from the device
while adjusting the corresponding channel’s LEVEL knob. Adjust so that the
LEVEL meter occasionally reaches the “0” level.

9 Now turn the MASTER knob in the MAIN section again

as necessary to adjust the overall output level.

It is acceptable for the LIMITER
lamps to flash on briefly at
times, but if they remain lit con­tinuously then there is risk of
damage to your speakers or to
the internal amp. Reduce the
MASTER knob setting so that
these lamps do not stay on.

10

EMX512SC/EMX312SC/EMX212S

Adding Some Reverb

Now let’s try adding some reverb to your input. The reverb effects
let you simulate the sound of different performance environ­ments—such as concert halls and small clubs.

2

3

4
1

BASIC

Quick Guide

1 Turn the ON switch to it’s ON position.

This switch turns the internal effector on and off. The lamp lights up orange to
indicate that the effector is on. As an alternative to the ON switch, you can use a
separately sold FC5 foot switch to toggle the effector on and off.

2 Turn the PROGRAM dial to select the desired effect type;

To select a reverb effect, turn the dial to any value from 1 to 7.

1
2
3
4

55

55
66

66
77

77
88

88

REVERB HALL 1

REVERB HALL 2

REVERB ROOM 1

REVERB ROOM 2

REVERB STAGE 1

REVERB STAGE 2

REVERB PLATE

DRUM AMBIENCE

9
0
A
B

CC

CC
DD

DD
EE

EE
FF

FF

KARAOKE ECHO

VOCAL ECHO

CHORUS 1

CHORUS 2

FLANGER

PHASER

AUTO WAH

DISTORTION

3 Use the channel EFFECT knobs to adjust the effect

depth for each channel.

EMX512SC/EMX312SC/EMX212S

11

BASIC

Quick Guide

4 Use the MAIN section’s EFFECT RTN knob to adjust the

overall effect depth.

Note that you can use the PARAMETER knob to adjust the characteristic sound
of the selected effect. If you have selected a reverb effect, the knob will adjust
the reverb time.

Using the Compressors to Enhance Vocals

The compressor evens out the input level, reducing the level of
loud passages and bringing up softer passages. The result is a
cleaner sound where nuances remain audible and the lyrics are
easier to hear.

(EMX512SC and EMX312SC only)

1

1 Adjust the COMP knobs on the relevant channels.

Tu rn the knob clockwise to increase the compression. Avoid setting the value
too high, as too much compression may lead to howling. For more information
about the compressors, see pages 18 and 21.

12

EMX512SC/EMX312SC/EMX212S

BASIC

Making the Most of Your Mixer

An Introduction

You’ve got yourself a mixer
and now you’re ready to use it.
Just plug everything in,
twiddle the controls, and
away you go … right?
Well, if you’ve done this
before you won’t have any
problems, but if this is the
first time you’ve ever used a
mixer you might want to
read through this little
tutorial and pick up a few
basics that will help you get
better performance and
make better mixes.

A Place for Everything and Everything in its Place

A Plethora of Connectors—What Goes Where?

Questions you’re likely to
encounter when setting up a
system for the first time might
include “Why all these different
types of connectors on the back
of my mixer?” and “What’s the
difference?”.
Let’s start by taking a look at the
most common connector types.

The Venerable RCA Pin
Jack

White

Red

This is the “consumer connector,”
and the one that has been most
commonly used on home audio
gear for many years. Also known
as “phono” jacks (short for
“phonogram”), but the term isn’t
used much these days—besides,
it’s too easily confusable with
“phone” jacks, below. RCA pin
jacks are always unbalanced, and
generally carry a line-level signal
at –10 dB, nominal. You’re most
likely to use this type of connector
when connecting a CD player or
other home audio type source to
your mixer, or when connecting
the output of your mixer to a
cassette recorder or similar gear.

The Versatile Phone Jack

Stereo/TRS phone plug

Mono phone plug

The name “phone jack” arose
simply because this configuration
was first used in telephone
switchboards. Phone jacks can be
tricky because you can’t always
tell what type of signal they’re

designed to handle just by looking
at them. It could be unbalanced
mono, unbalanced stereo,
balanced mono, or an insert patch
point. The connector’s label will
usually tell you what type of signal
it handles, as will the owner’s
manual (you do keep your
manuals in a safe place, don’t
you?). A phone jack that is set up
to handle balanced signals is also
often referred to as a “TRS”
phone jack. “TRS” stands for Tip­Ring-Sleeve, which describes the
configuration of the phone plug
used.

The Sturdy XLR

Male

Female

This type of connector is
generally referred to as “XLR­type,” and almost always carries a
balanced signal. If the
corresponding circuitry is
designed properly, however, XLR-

EMX512SC/EMX312SC/EMX212S

13

BASIC

Making the Most of Your Mixer

type connectors will also handle

Balanced noise cancellation

unbalanced signals with no
problem. Microphone cables
usually have this type of
connector, as do the inputs and
outputs of most professional

Hot (+)

audio gear.

Balanced,

Cold (–)

Unbalanced—What’s

Ground

the Difference?

In a word: “noise.” The whole
point of balanced lines is noise
rejection, and it’s something
they’re very good at. Any length
of wire will act as an antenna to
pick up the random
electromagnetic radiation we’re
constantly surrounded by: radio
and TV signals as well as
spurious electromagnetic noise
generated by power lines, motors,
electric appliances, computer
monitors, and a variety of other
sources. The longer the wire, the
more noise it is likely to pick up.
That’s why balanced lines are the
best choice for long cable runs. If
your “studio” is basically confined
to your desktop and all
connections are no more than a
meter or two in length, then
unbalanced lines are fine—unless
you’re surrounded by extremely
high levels of electromagnetic
noise. Another place balanced
lines are almost always used is in
microphone cables. The reason
for this is that the output signal
from most microphones is very
small, so even a tiny amount of
noise will be relatively large, and
will be amplified to an alarming

To summarize

Microphones: Use balanced lines.

Short line-level runs: Unbalanced lines are fine if you’re in a

relatively noise-free environment.

Long line-level runs: The ambient electromagnetic noise level will

be the ultimate deciding factor, but balanced
is best.

Source Cable

degree in the mixer’s high-gain
head amplifier.

How Do Balanced Lines
Reject Noise?

** Skip this section if technical
details make you queasy. **

Balanced lines work on the
principle of “phase cancellation”: if
you add two identical signals out
of phase (i.e. one signal is
inverted so its peaks coincide with
the troughs in the other signal),
the result is … nothing. A flat line.
The signals cancel each other
out.

A balanced cable has
three conductors:

1) A ground conductor which
carries no signal, just the
“ground” or “0” reference
against which the signal in the
other conductors fluctuates.

Noise

Noise-free signal

Phase
inversion

Noise cancelled

Receiving device

2) A “hot” or “+” conductor which
carries the normal-phase audio
signal.

3) A “cold” or “–” conductor which
carries the reverse-phase

audio signal.

Balanced Unbalanced

Hot

Cold

Shield

(Ground)

Outer

Insulation

While the desired audio signals in
the hot and cold conductors are
out of phase, any noise induced
in the line will be exactly the same
in both conductors, and thus in
phase. The trick is that the phase
of one signal is reversed at the
receiving end of the line so that
the desired audio signals become
in-phase, and the induced noise
suddenly finds itself out of phase.
The out-of-phase noise signal is
effectively canceled while the
audio signal is left intact. Clever,
eh?

14

EMX512SC/EMX312SC/EMX212S

BASIC

+ 20 dBu

0 dBu

0.775 V

-

20 dBu

-

40 dBu

-

60 dBu

The inputs and outputs on home-use audio gear
usually have a nominal level of –10 dBu.

Most professional mixers, power amplifiers, and other
types of equipment have inputs and outputs with a
nominal level of +4 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.

Making the Most of Your Mixer

Signal Levels and the Decibel

Let’s take a look at one of the
most commonly used units in
audio: the decibel (dB). If the
smallest sound that can be heard
by the human ear is given an
arbitrary value of 1, then the
loudest sound that can be heard
is approximately 1,000,000 (one
million) times louder. That’s too
many digits to deal with for
practical calculations, and so the
more appropriate “decibel” (dB)
unit was created for sound-related
measurements. In this system the
difference between the softest
and loudest sounds that can be
heard is 120 dB. This is a non­linear scale, and a difference of 3
dB actually results in a doubling
or halving of the loudness.
You might encounter a number of
different varieties of the dB: dBu,
dBV, dBM and others, but the
dBu is the basic decibel unit. 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

Unbalanced noise

Noise

Source Cable Receiving device

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? Just move
the faders around until it sounds
right? Well, you can do it that

way, but a more systematic
approach that is suited to the
material you’re mixing will
produce much better results, and
faster. There are no rules, and
you’ll probably end up developing
a system that works best for you.
But the key is to develop a
system rather than working
haphazardly. Here are a few
ideas to get you started:

Faders Down

It might sound overly simple, but it
is usually a good idea to start with
all channel faders off—all the way
down. It’s also possible to start
with all faders at their nominal
settings, but it’s too easy to lose
perspective with this approach.
Start with all faders down, then
bring them up one by one to fill
out the mix. But which channel
should you start with?

Example1:
Vocal Ballad Backed by
Piano Trio

What are you
mixing? Is it a song
in which the vocals
are the most
important element?

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.

Example2:
Funky R&B Groove

The approach will
be totally different
if you’re mixing a
funky R&B
number that

centers on the
groove. In this case most
engineers will start with the
drums, and then add the bass.
The relationship between the
drums and bass is extremely
important to achieve the “drive” or
groove the music rides on. Pay
particular attention to how the
bass works with the kick (bass
drum).
They should
almost sound
like a single
instrument—
with the kick
supplying the
punch and the bass supplying the
pitch. Once again, there are no
rules, but these are concepts that
have been proven to work well.

The fundamental and harmonic frequency ranges of some
musical instruments.

Piano

Bass Drum

Snare Drum

Bass

Guitar

Trombone

Tr umpet

20 50 100 200 500 1 k 2 k 5 k 10 k 20 k

Fundamental: The frequency that determines the basic musical pitch.
Harmonics: Multiples of the fundamental frequency that play a role in

determining the timbre of the instrument.

Cymba

l

(Hz)

Some Frequency Facts

The lowest and highest frequencies than can be heard by the
human ear are generally considered to be around 20 Hz and
20,000 Hz, respectively. Average conversation occurs in the
range from about 300 Hz to about 3,000 Hz. The frequency of a
standard pitchfork used to tune guitars and other instruments is
440 Hz (this corresponds to the “A3” key on a piano tuned to
concert pitch). Double this frequency to 880 Hz and you have a
pitch one octave higher (i.e. “A4” on the piano keyboard). In the
same way you can halve the frequency to 220 Hz to produce
“A2” an octave lower.
The frequencies controlled by the LOW, MID, and HIGH bands
on this mixer have been specifically selected to provide the most
“musical” range of adjustment with the widest possible range of
instruments (100Hz, 2,500 Hz, and 10,000 Hz, respectively).

To EQ or Not to EQ

In general: less is better. There
are many situations in which you’ll
need to cut certain frequency
ranges, but use boost sparingly,
and with caution. Proper use of
EQ can eliminate interference
between instruments in a mix and
give the overall sound better
definition. Bad EQ—and most
commonly bad boost—just
sounds terrible.

Cut for a Cleaner Mix

For example: cymbals have a lot
of energy in the mid and low
frequency ranges that you don’t
really perceive as musical sound,
but which can interfere with the
clarity of other instruments in
these ranges. You can basically
turn the low EQ on cymbal
channels all the way down without
changing the way they sound in
the mix. You’ll hear the difference,
however, in the way the mix
sounds more “spacious,” and
instruments in the lower ranges
will have better definition.
Surprisingly enough, piano also

16

EMX512SC/EMX312SC/EMX212S

BASIC

Making the Most of Your Mixer

has an incredibly powerful low
end that can benefit from a bit of
low-frequency roll-off to let other
instruments—notably drums and
bass—do their jobs more
effectively. Naturally you won’t
want to do this if the piano is
playing solo.
The reverse applies to kick drums
and bass guitars: you can often
roll off the high end to create
more space in the mix without
compromising the character of the
instruments. You’ll have to use
your ears, though, because each
instrument is different and
sometimes you’ll want the “snap”
of a bass guitar, for example, to
come through.

Boost with Caution

If you’re trying to create special or
unusual effects, go ahead and
boost away as much as you like.
But if you’re just trying to achieve
a good-sounding mix, boost only
in very small increments. A tiny
boost in the midrange can give
vocals more presence, or a touch
of high boost can give certain
instruments more “air.” Listen,
and if things don’t sound clear
and clean try using cut to remove
frequencies that are cluttering up
the mix rather than trying to boost
the mix into clarity.
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.

Ambience

Your mixes can be further refined
by adding ambience effects such
as reverb or delay. On the EMX
mixers these effects are built in.
The internal DSP (Digital Signal
Processor) can be used to add
reverb or delay to individual
channels in the same way as
external effects processors, with
the extra connections required by,
or the loss in sound quality often

MID Boost

LOW Boost

Level (dB)

Signal

LOW Flat

LOW Cut

MID Cut

Frequency (Hz)

caused by external processing.
(Refer to page 22).

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 “groves”, and you need
to select the time that best suits
the music. When adding delay to
a vocal, for example, try setting

MID Flat

HIGH Boost

HIGH Flat

HIGH Cut

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.

Reverb Level

It’s amazing how quickly your
ears can lose perspective and
fool you into believing that a
totally washed-out mix sounds
perfectly fine. To avoid falling into
this trap start with reverb level all

EMX512SC/EMX312SC/EMX212S

17

BASIC

Making the Most of Your Mixer

the way down, then gradually
bring the reverb into the mix until
you can just hear the difference.
Any more than this normally
becomes a “special effect.” You
don’t want reverb to dominate the
mix unless you are trying to
create the effect of a band in a
cave—which is a perfectly
legitimate creative goal if that’s
the sort of thing you’re aiming for.

The Modulation Effects: Phasing, Chorus, and Flanging

All of these effects work on
basically the same principle: a
portion of the audio signal is
“time-shifted” and then mixed
back with the direct signal. The
amount of time shift is controlled,
or “modulated”, by an LFO (Low­frequency Oscillator). When we
say “time shift,” however, we’re
not talking in terms of minutes or
even seconds.

For phasing effects the shift is
very small indeed – a difference
measured in degrees of phase
shift rather than time units. 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.

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.

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

OUTPUT

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.

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

(Min)

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 comb­filter effect described above, the
delay modulation in these effects
causes a perceived pitch shift
which, when mixed with the direct

18

EMX512SC/EMX312SC/EMX212S

(Max)

INPUT

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. With
the right amount of compression
you’ll be able to clearly hear
whispered passages while
passionate shouts are still well
balanced in the mix. Compression
can also be valuable on bass
guitar, producing a smooth bass
sound that stays solid through the
tune. Compression can also be
applied to guitar tracks to add
extra sustain. Too much
compression can be a cause of
feedback, however, so use it
sparingly.

BASIC

Making the Most of Your Mixer

Music First—Then Mix

In any case, the music comes
first. Think about the music and
let it guide the mix, rather than
trying to do things the other way
around. What is the music saying
and what instrument or technique
is being used to drive the
message? That’s where the focus
of your mix should be. You’re
using a high-tech tool to do the
mixing, but the mix itself is as
much art as the music. Approach
it that way and your mixes will
become a vital part of the music.

EMX512SC/EMX312SC/EMX212S

19

Controls and Connectors

NOTE

NOTE

NOTE

NOTE

Controls and Connectors

Controls on Each Channel

1 FCL (Feedback Channel Locating) lamp

1

Channels

1 to 4

(Monaural)

Channels

5/6 and 7/8

(Stereo)

1

Channels

9/10 and 11/12

(Stereo)

1

This lamp is used during setup to identify any channel
that might be howling. Check these lamps when setting
up for a performance. If the lamp lights up, adjust the
channels equalizer 2 or level knob 5 to reduce the
level so that the lamp goes off.

Input of a continuous sound (as from a CD player or
vocal) may cause the lamp to come on even in the
absence of howling.

2

3

4

5

6

7

8

3

4

5

9

3

4

5

2 Equalizer (HIGH, MID, and LOW)

This three-band equalizer adjusts the channel’s high,
mid, and low frequency bands. Setting the knob to the
position produces a flat frequency response. Turning the
knob to the right boosts the corresponding frequency
band, while turning to the left attenuates the band. The
following table shows the equalization type, the base fre­quency, and the maximum cut/boost for each of the three
bands.

Band Type Base Frequency Maximum Cut/Boost

HIGH Shelving 10 kHz

±15 dBMID Peaking 2.5 kHz

LOW Shelving 100 Hz

3 MONITOR control

Adjusts the level of the signal sent from the channel into
the MONITOR bus. If input is from a stereo channel pair
(5/6, 7/8, 9/10, or 11/12), the signals from the L and R
channels are mixed before moving into the bus. The
MONITOR bus signal is output at the MONITOR OUT
jack O, and may also be output from the SPEAKERS A
jacks V (depending on the setting of the POWER AMP
switch R).

The channel’s LEVEL knob 5 has no effect on the
level of the signal sent into the MONITOR bus.

20

4 EFFECT knob

Adjusts the level of the signal sent from the channel into
the EFFECT bus. If input is from a stereo channel pair
(5/6, 7/8, 9/10, or 11/12), the signals from the L and R
channels are mixed before moving into the bus. The
EFFECT bus signal is fed both to the internal digital
effector and to the EFFECT OUT jack C.

The channel’s LEVEL knob 5 also affects the level
of the channel’s signal into the EFFECT bus.

5 LEVEL knob

Adjusts the signal’s output level. Use these knobs to
adjust the volume balance among the various channels.

To reduce noise, set the knobs for unused channels to
“0”.

EMX512SC/EMX312SC/EMX212S

Controls and Connectors

NOTE

6 COMP knob (EMX512SC and EMX312SC only)

This knob adjusts the level of compression applied to the
channel. As the knob is turned to the right, the mixer
automatically raises the compression ratio while adjust­ing the output gain accordingly. The result is a narrower,
more even dynamic range, as louder signals are softened
while the overall level is boosted. Avoid setting the knob
too high, however, as excess compression may lead to
howling.

7 LINE/MIC switch (Channels 1 to 4)

Set this switch to match the type of input signal you are
supplying—either a mic-level (low level) signal or a
line-level (high level) signal. Set the switch to LINE
() if you are connecting a line-level source, such as a
keyboard or audio device. Set it to MIC ( ) if you are
connecting up a microphone or other mic-level source.

8 INPUT A and INPUT B jacks (Channels 1 to 4)

You can connect an input source to either jack. Be sure
to set the LINE/MIC switch 7 to match the type of
device you are connecting.

INPUT A: TRS phone-type balanced line input (T:

hot, R: cold, S: ground). Accepts both bal­anced and unbalanced line input.

9 LINE and MIC jacks (Channels 5/6 to 11/12)

These jacks accept stereo inputs. Use these to connect up
stereo output devices, such as stereo synthesizers and
CD players.

LINE jacks: Unbalanced stereo inputs. On channel

pairs 5/6 and 7/8 these are phone jacks; on
channel pairs 9/10 and 11/12 they are
RCA pin jacks.

MIC jack: XLR balanced stereo mic-level input jack.

If you are connecting a condenser micro­phone, be sure to turn the PHANTOM
switch P to its ON position.

• If you wish, you may use the channel pair’s LINE
and MIC jacks together at the same time. But note
that the levels cannot be adjusted independently.

• Signals into LINE L and LINE R jacks are sent
independently to the corresponding MAIN L and R
buses.

• The signal into a MIC jack is sent in equal levels to
the MAIN L and MAIN R buses.

R: Cold (–)

S: Ground T: Hot (+)

INPUT B: XLR balanced mic input (1: ground, 2:

hot, 3: cold). If you are connecting a con­denser microphone, be sure to turn the
PHANTOM switch P to its ON position.

Cold (–)

Ground Hot (+)

NOTE

•You cannot use both jacks at the same time.

• The signal into an INPUT jack is sent in equal lev­els to the MAIN L and MAIN R buses.

EMX512SC/EMX312SC/EMX212S

21

Controls and Connectors

NOTE

NOTE

Digital Effects Section

0

A

No. Program Parameter

9

0

A

B

CC

CC

DD

DD

EE

EE

FF

FF

KARAOKE ECHO DELAY TIME

VOCAL ECHO DELAY TIME

CHORUS 1 LFO FREQ

CHORUS 2 LFO FREQ

FLANGER LFO FREQ

PHASER LFO FREQ

AUTO WAH LFO FREQ

DISTORTION DRIVE

A PARAMETER knob

Adjusts the parameter (depth, speed, etc.) associated
with the selected effect type.

The mixer saves the last value used with each effect
type. When you change to a different effect type, the
mixer automatically restores the value that was previ­ously used with that type (regardless of the current
position of the PARAMETER knob). But note that all
values return to their defaults at power-off.

B

C

D

0 PROGRAM dial

Selects the type of effect to be used. You can select from
16 different effect types, as follows.

No. Program Parameter

1

2

3

4

55

55

66

66

77

77

88

88

REVERB HALL 1 REVERB TIME

REVERB HALL 2 REVERB TIME

REVERB ROOM 1 REVERB TIME

REVERB ROOM 2 REVERB TIME

REVERB STAGE 1 REVERB TIME

REVERB STAGE 2 REVERB TIME

REVERB PLATE REVERB TIME

DRUM AMBIENCE REVERB TIME

B ON switch

Switches use of the internal effector on or off. The inter­nal effect is applied only if this switch is on. Note that
the lamp above the switch lights up orange to indicate
that the switch is on. As an alternative to the ON switch,
you can use a separately sold FC5 foot switch to toggle
the effector on and off.

The internal effector is automatically turned on when­ever you switch on the mixer’s power.

C EFFECT OUT jack

This unbalanced phone output jack outputs the signal
from the EFFECT bus. You can use this jack to output
the signal to an external effector. You can then return the
signal by connecting the external effector to any of the
LINE jacks on channel pairs 5/6 to 11/12.

If you are returning a signal from an external effector
into a LINE jack on any channel pair 5/6 to 11/12,
please be sure to turn the EFFECT knob for that chan­nel pair to “0”.

D FOOT SW jack

This phone input jack can connect to the (separately
sold) YAMAHA FC5 foot switch. With the foot switch
connected, you can use your foot to toggle the internal
effector ON and OFF.

22

EMX512SC/EMX312SC/EMX212S

MAIN Section

NOTE

E

H

Controls and Connectors

E Graphic Equalizer

This 7-band graphic equalizer adjusts the frequency
characteristics of the stereo signal on the MAIN L and
MAIN R buses. This is the signal that is output to the
MAIN OUT jacks I and to the SPEAKERS jacks V.
Each band can be adjusted by ±12 dB. The base frequen­cies for the bands are: 125, 250, 500, 1k, 2k, 4k and 8k
Hz.

F EFFECT RETURN knob

Adjusts the level of the signal sent from the internal
effector to the MAIN L and MAIN R buses.

G MASTER knob

Adjusts the level of the signal output to the SPEAKERS
jacks V and MAIN OUT jacks I.

H LEVEL meters

The L and R meters show the level of the signal output
from the MAIN OUT jack I.

F

G

IJ

The MAIN OUT signal also passes through the inter­nal power amp and is then output at the SPEAKERS
jacks

V. Keep an eye on the LIMITER lamps Q to

ensure that the level at the SPEAKERS jacks does not
stay too high.

I MAIN OUT L and R jacks

These unbalanced phone output jacks feed out the main
stereo output. You would typically connect these jacks to
a power amp or powered speakers. The signal sent to
these jacks is adjusted by the MAIN section’s MASTER
knob G and graphic equalizer E.

J REC OUT L and R jacks

These RCA pin-type unbalanced output jacks can be
used to send the main stereo signal to an external DAT
recorder or cassette recorder. Note that unlike the output
from the MAIN OUT jacks, the signal from the REC
OUT jacks is not adjusted by the MAIN section’s MAS­TER knob G and graphic equalizer E.

Since this output signal is not adjusted by the MAIN
section’s MASTER knob
level as necessary at the recording side.

G, you should adjust the

EMX512SC/EMX312SC/EMX212S

23

Controls and Connectors

MONITOR Section

K

L

N

M

K Graphic Equalizer

This 7-band graphic equalizer adjusts the frequency
characteristics of the monitor signal that feeds to the
MONITOR OUT jack O and (if the POWER AMP
switch is down) to the SPEAKERS B jacks V. Each
band can be adjusted by ±12 dB. The base frequencies
for the bands are: 125, 250, 500, 1k, 2k, 4k, and 8k Hz.

L EFFECT RETURN knob

Adjusts the level of the signal sent from the internal
effector to the MONITOR bus.

M MASTER knob

Adjusts the level of the monitor signal send to the MON­ITOR OUT jack O and (if the POWER AMP switch is
down) to the SPEAKERS B jacks V.

N LEVEL meters

The L and R meters show the level of the signal output
from the MONITOR OUT jack O.

O

If the POWER AMP switch is down, the MONITOR
OUT signal also passes through the internal power amp
and is then output at SPEAKERS jacks B1 and B2
Keep an eye on the LIMITER lamps
the level at the SPEAKERS jacks does not stay too
high.

Q to ensure that

O MONITOR OUT jack

This unbalanced phone jack outputs the monaural moni­tor signal. You would typically connect this jack to pow­ered speakers used for monitoring. The signal sent to this
jack is adjusted by the MONITOR section’s MASTER
knob M and the settings of the MONITOR section’s
graphic equalizer K.

V.

24

EMX512SC/EMX312SC/EMX212S

POWER Section

NOTE

P

Controls and Connectors

• To avoid damage to speakers, be sure to turn off the

power to the EMX itself and to any other power
amplifiers and power speakers before switching
phantom power on or off. We also recommend that
you turn all output controls (LEVEL knobs, MAS­TER knobs, etc.) to minimum settings before operat­ing the switch, to avoid risk of loud noises that could
cause hearing loss or device damage.

Q

R

S

T

U

Q LIMITER lamps

The lamp lights up when the amplified signal being output at
the corresponding SPEAKERS jack hits its maximum value.
The lamp indicates that the limiter has come on.

If the lamps are flashing frequently, the load on the amp
is too high and there is risk of damage to your equip­ment. Reduce the setting of the MASTER knobs (
and M) until the lamps flash only briefly or not at all.

R POWER AMP switch

Selects the output that gets sent to the SPEAKERS jacks, as
follows.

Up (MAIN L/R):

SPEAKERS jacks A1 and A2 output the signal from
the MAIN L bus, and SPEAKERS jack B1 and B2
output the signal from the MAIN R bus. The MAIN
section’s MASTER knob G adjusts the output level at
all of the SPEAKERS jacks.

Down (MAIN(L+R)/MON):

SPEAKERS jacks A1 and A2 output a mix of the
signals from the MAIN L and MAIN R buses.
SPEAKERS jacks B1 and B2 output the signal
from the MONITOR bus. The MAIN section’s
MASTER knob G adjusts the level to the A jacks,
while the MONITOR section’s MASTER knob M
adjusts the level to the B jacks.

G

P PHANTOM switch

This switch toggles +15V phantom power on and off. If
you set the switch on, the mixer supplies power to the
XLR mic input jacks on all channels (the INPUT B jacks
on channels 1 to 4, and the MIC jacks on channel pairs
5/6 to 11/12). Set this switch on when using one or more
condenser microphones.

NOTE

When this switch is on, the mixer supplies DC +15V
power to pins 2 and 3 of all XLR input jacks.

• Be sure to leave this switch off if you do not need

phantom power.

• When using phantom power, do not connect any

devices other than condenser microphones to the
XLR input jacks. Other devices may be damaged if
connected to phantom power. This precaution does
not apply to balanced dynamic microphones, how­ever, as these will not be affected by phantom power.

S YS Processing switch

This switch turns Yamaha Speaker Processing on or off.
The processor adjusts the speaker’s bass ranges so as to
compensate, for example, for lack of subwoofers. Note
however that the resulting frequency balance will vary
according to the speakers you are using.

T STAND-BY switch

This switch mutes the input to channels 1 to 8. The
switch lights up to indicate that the mute has been turned
on. Note that the mute does not work on channels 9 to 12.

When using the mixer for live performances, you can
fill in gaps in the performance by turning on the
standby switch and feeding background music from a
CD player or other such device into channels 9 to 12.

U POWER switch and lamp

This switch turns the EMX power ON and OFF. The
lamp lights up to indicate that the power in on.

Before turning the power ON or OFF, be sure to turn
both MASTER knobs (

EMX512SC/EMX312SC/EMX212S

G and M) to “0”.

25

Controls and Connectors

Rear Panel

VW

V SPEAKERS jacks

Use these jacks to connect to speakers. Note that the out­put directed to these jacks varies according to the setting
of the POWER AMP switch R.

A1, B1: Neutrik NL4 Speakon outputs. Polarities are

as shown below.

1- 1+

2+ 2-

A2, B2: Phone output jacks.

Neutrik Plug A1 and B1 Connectors

1+

1–

2+

2–

+

–

W AC IN connector

Connects to the included power cord. Connect one end
of the cord to this connector, and then plug the other end
into a standard power outlet.

Please use the cord that comes with the mixer. Use of a
different cord may pose risk of fire, burns, or equip­ment damage.

26

EMX512SC/EMX312SC/EMX212S

Connecting Speakers

8Ω to 16Ω 8Ω to 16Ω 8Ω to 16Ω 8Ω to 16Ω

Connecting Speakers

When making 2-channel and 2-channel parallel connections to the SPEAKERS jacks, be sure that the impedance of your speak­ers meets the conditions indicated below. Note that actual speaker impedance varies according to connection method and num­ber of speakers.

When making connections, be sure that your cables have the appropriate ratings and the correct plugs. Be sure to use dedicated
speaker cables when connecting speakers to the SPEAKERS jacks.

■ 2-channel connection

When connecting up as follows, use speakers with imped­ance of 4 ohms to 8 ohms.

• When outputting the signals from the MAIN L and R buses
through the SPEAKERS A and B jacks (stereo output).

• When outputting a mix of the MAIN L and R buses through the
SPEAKERS A jack.

• When outputting the signal from the MONITOR bus through the
SPEAKERS B jack.

4Ω to 8Ω 4Ω to 8Ω

■ 2-channel parallel connection

When connecting speakers in parallel as shown below, use
speakers with impedance of 8 ohms to 16 ohms.

EMX512SC/EMX312SC/EMX212S

27

Horizontal Orientation, Tilting and Rack Mounting

Horizontal Orientation, Tilting and Rack
Mounting

Horizontal Orientation

If you are going to position the EMX unit horizontally, be sure to attach the included rubber stabilizers before use. The stabilizers
prevent the unit from tipping over.

NOTE

■ How to attach the rubber stabilizers

Please detach the stabilizers when transporting the unit.

Turn the EMX unit upside down.

1

Attach the two rubber stabilizers that were included

2

with the unit. Push each stabilizer all the way in so that

they are firmly in place.

Turn the EMX right-side up.

3

stabilizer

28

EMX512SC/EMX312SC/EMX212S

Tilting

Horizontal Orientation, Tilting and Rack Mounting

You can set the EMX unit at an angle, as shown below.

Do not push too forcefully when tilting the unit. Excess
force may cause the unit to topple or turn, potentially
resulting in equipment damage or in injury to bystand­ers.

Rack Mounting

To prepare the unit for rack mounting, use the (separately sold) RK512 rack mount kit.

If rack-mounting the unit, be sure to maintain adequate ventilation so the unit does not overheat. Consider attaching a vent panel,
and do not use a sealed rack.

NOTE

RK512 Rack mount Kit

The EMX unit requires 7U of rack space.

Using the kit’s 4 screws, attach the kit’s 2 metal fittings

2

as shown below.

Screws

Fittings

■ How to install the rack-mount hardware

Turn the EMX unit upside down.

1

Turn the EMX right-side up.

3

EMX512SC/EMX312SC/EMX212S

29

Setting Up

Intake

Exhaust

At least

25 cm

At least

10 cm

Setting Up

Top panel

OCTAVE

DOWN UP

DI

Bass

Synthesizer

ASSIGN A

ASSIGN B

ASSIGN 1

ASSIGN 2

REMOTE ARPEGGIO

PAN/SEND

PAN

REVERB

CHORUS

TEMPO

R-AUDIO

CUTOFF

RESONANCE

ATTACK

RELEASE

ASSIGN

ON/OFF ON/OFF

G-MIDI

SWING

GATE TIME

VELOCITY

UNITMULTIPLY

TONE

KNOB
CONTROL

FUNCTION

MODE

EFFECT

ÊARP FX

MASTER

BYPASS

VOICE

PERFORMMASTER

EFFECT

INSERTIONSYSTEM

KN

KN

KN

KN

1

2

3

4

LOW MID

HIGH MID

HIGH

LOW

EQ

VOLUME

1

VOLUME

2

VOLUME

3

VOLUME

4

SEQUENCER

PATTERNFILE

SONG

SEQ TRANSPORT

DEMO

INTEGRATED

MIXINGUTILITY

SAMPLING

LOCATE 1 2

EDIT

JOB STORE

COMPARE SCENE STORE

SET LOCATE

MASTER

CS 1

CS 2

CS 3

CS 4

VOLUME

ZONE 1

ZONE 2

ZONE 3

ZONE 4

NOTE

In most cases it is sufficient to connect speakers
to the SPEAKERS jacks on the unit’s rear
panel. But if you want even more output, you
can get it by connecting a power amp to the
MAIN OUT or MONITOR OUT jack, and then
connecting speakers to the power amp.

Guitar

CD, Cassette, or

Integrated Sampling Sequencer /

Modular Synthesis Plug-in System / Real-time External Control Surface

MUSIC PRODUCTION SYNTHESIZER

PRE 1 PRE 2 PRE 3 PRE 4

SLOT 1SLOT 2SLOT

3

CATEGORY

DRUM KITS

PRE 5 PRE 6

USER 1

USER 2

PLG 1

PLG 2

PLG 3

GM

SEARCH

BANK

A. PIANOKEYBOARD ORGAN

BASS

BRASS

GUITAR/

STRINGS

REED/PIPE

FAVORITES

PLUCKED

H

ABCDEFG

SECTION

GROUP

DEC/NO INC/YES

DRUM/

CHROMATIC

SEMUSICAL FX COMBI

SYN COMP

SYN LEAD

SYN PAD/

PERCUSSION

PERCUSSION

CHOIR

TRACK

87654321

SCENE

2SF3SF4SF5

SF1 SF

F1F2F3F4F5F

SELECT

INFORMATION

ELEMENT/PERF. PART/ZONE

COMMON

NUMBER

16

11109

1412 13

EXIT ENTER

15

MUTE

6

SOLO

EXECUTE

DAT Recorder

CD Player

Speakers

Power Amp

Foot Switch

(YAMAHA FC5)

Microphones

Microphones

Drums

Rear Panel EMX Installation

Monitor Speakers

30

EMX512SC/EMX312SC/EMX212S

Vents are located on the sides and rear of the EMX
unit. Position the unit so that the vents are not blocked
by nearby walls or objects.

Troubleshooting

Troubleshooting

■ Power doesn’t come on.

■ Power suddenly went off.

■ Sound suddenly

stopped.

■ No sound.

■ Sound is faint, distorted,

or noisy.

❑ Be sure that you are using the supplied power cord, and that it is correctly

connected to the AC IN connector and plugged into a working power out­let.

❑ Check whether the vents at the sides and rear of the unit are blocked.

The EMX unit may overheat if the vents are blocked. If the unit overheats,
the power may automatically go off. Wait for the unit to cool down, and
then turn the power back on.

❑ Check whether the vents at the sides and rear of the unit are blocked.

The EMX unit may overheat if the vents are blocked. If the unit overheats,
it may cut off the output to the internal amp until things cool down.

❑ Are microphones, external devices, and speakers connected correctly?
❑ Are the channel LEVEL knobs and the two MASTER knobs set to appro-

priate levels?

❑ Check that the speaker cables are not shorted.
❑ If the above checks do not identify the problem, call Yamaha for service.

(Refer to the page 36 for a list of service centers.)

❑ Check that the channel LEVEL knobs and the two MASTER knobs are set

appropriately.

❑ Check that the LINE/MIC switches on channels 1 to 4 are set correctly.
❑ On channels 1 to 4, be sure that you have not connected to both INPUT A

and INPUT B. On each of these channels you may use one input or the
other, but not both.

❑ Is the input signal from the connected device set to an appropriate level?

■ An FCL lamp comes

even though there is no
howling on the channel.

■ Can’t hear the internal

digital effect.

■ The sound from the

speakers seems dull.
I want a more forceful
sound.

■ I want spoken words to

be heard more clearly.

■ I want to listen to moni-

tor output.

❑ Input of a continuous sound (from a CD player or other such source) may

cause the lamp to come on even in the absence of howling.

❑ Check that the EFFECT knob on each channel is correctly adjusted.
❑ Be sure that the internal effector’s ON switch is turned on.
❑ Be sure that the EFFECT RETURN knobs in the MAIN and MONITOR

sections are correctly adjusted.

❑ Try turning on the YS Processing switch.
❑ Adjust the equalizers (HIGH, MID, and LOW knobs) on each channel.
❑ Adjust the graphic equalizers.

❑ Be sure that the YS Processing switch is turned off.
❑ Adjusting the equalizers (HIGH, MID, and LOW knobs) on each channel.
❑ Adjusting the graphic equalizers.

❑ Connected a powered speaker to the MONITOR OUT jack. Then adjust

the MONITOR OUT signal by adjusting the channel MONITOR knobs and
the MONITOR section’s MASTER knob.

❑ If you want to send the monitor signal to SPEAKERS jacks B1 and B2, set

the POWER AMP switch to the down position (to MAIN(L+R) / MON).
Note that in this case the B jacks will output the monitor signal, and the A
jacks will output a mix of the MAIN L and MAIN R signals.

EMX512SC/EMX312SC/EMX212S

31

Specifications

Specifications

■ General Specifications

Output RL Conditions US AU EU UNIT

Maximum Output Power SPEAKERS OUT

Input Output RL Conditions MIN TYP MAX UNIT

Frequency Response CH INPUT 1-11/12

Maximum Voltage
Gain@ 1 kHz

Gain Error @ 1 kHz

It measures in each CH unit.

Total Harmonic Distor­tion

It measures in each CH unit.

(THD+N)

Hum & Noise
(20 Hz-20 kHz)

It measures in each CH unit.
EIN=Equivalent Input Noise

Residual Output Noise
(20 Hz-20 kHz)

CH 1-4 INPUT B,
CH 5/6-11/12 MIC

CH 1-4 INPUT B,
CH 5/6-11/12 MIC

CH 1-4 INPUT A MAIN OUT

CH 5/6-7/8 LINE
(Phone)

CH 9/10-11/12 LINE
(Pin)

CH INPUT 1-11/12

CH 1-4 INPUT B,
CH 5/6-11/12 MIC

CH INPUT 1-11/12

—

EMX512SC

EMX312SC

EMX212S

MAIN OUT, MONITOR OUT,
EFFECT OUT, REC OUT

SPEAKERS OUT 4 kΩ –3.0 0.0 1.0

MAIN OUT, MONITOR OUT 10 kΩ

MAIN OUT

EFFECT OUT

REC OUT

MAIN OUT Input level:–20 dBu 2.0 4.0 6.0

MAIN OUT Input level:–20 dBu 2.0 4.0 6.0

MAIN OUT, MONITOR OUT,
EFFECT OUT, REC OUT

MAIN OUT

MAIN OUT, MONITOR OUT,
EFFECT OUT

MAIN OUT L, R

SPEAKERS OUT 4 Ω –65

4 Ω

8 Ω 350 350 320

4 Ω 300 300 300

Both ch drive, 1 kHz,

<

THD+N 0.5%

8 Ω 190 190 180

4 Ω 220 220 220

8 Ω 130 130 130

=

CH1-4 MIC/LINE: MIC

10 kΩ

20 Hz-20 kHz, 0 dB
@ 1 kHz

Rs=150 Ω CH1-4
MIC/LINE:MIC

Input level:–60 dBu
CH1-4 MIC/LINE:MIC

Input level:–60 dBu
CH1-4 MIC/LINE:MIC

Input level:–60 dBu
CH1-4 MIC/LINE:MIC

Input level:–60 dBu

10 kΩ

CH1-4 MIC/LINE:MIC

Input level:–50 dBu
MIC/LINE:MIC

+14 dBu @ 20 Hz,

10 kΩ

1 kHz, 20 kHz

EIN, Rs=150 Ω CH1-4
MIC/LINE:MIC

10 kΩ

Output Noise
Rs=150 Ω CH1-4
MIC/LINE:MIC

10 kΩ

Master control at
minimum.

MIN

500 500 500

–3.0 0.0 1.0

65 dB

2.0 4.0 6.0

2.0 4.0 6.0

–8.0 –6.0 –4.0

–12.0 –10.0 –8.0 dBV

2.0 4.0 6.0

0.5 %

–115

–50

–90

W

dB

dBuMONITOR OUT

dBu

dBu

dBuMONITOR OUT –90

Input Output Conditions MIN TYP MAX UNIT

Crosstalk @ 1 kHz

It measures in each CH unit.

Phantom Voltage

It measures in each CH unit.

CH & ST CH Equaliza­tion

Internal Digital Effect

Level Meters

FCL Sensitivity Input signal level –75dBu: LED on, CH1-4 MIC/LINE:MIC B Input, CH 5/6-11/12 MIC Input

Protection

32

EMX512SC/EMX312SC/EMX212S

CH1-4

Output — MIN TYP MAX UNIT

CH 1-4 INPUT B,
CH 5/6-11/12 MIC

HIGH Turn over /roll-off frequency of

LOW 100 (shelving)

16 programs
Parameter control

FOOT SW ON/OFF
2 × 5-points LED level meter [MAIN(L,R)], 5-points LED level meter [MONITOR]

+6, +3, 0, –5, –10 [dB]

Power Amplifier

Power Supply Thermal /heatsink temp 100˚C :power supply shutdown /manual reset

Adjacent CH inputs –65

MAIN OUT

— No load 14 15 16 V

>
=

POWER switch on/off mute
DC-fault :power supply shutdown /manual reset
Thermal /heatsink temp 90˚C:output mute /auto reset
Vl limiter /RL 2 Ω
Clip limiter /THD 1 %, Indicator × 2

<

=

>
=

Input to Output (LEVEL
controls: minimum)

shelving :3dB below maximum
variable level.
±15dB maximum

>
=

>
=

10 k (shelving)

–65

dB

HzMID 2.5 k (peaking)

Specifications

MIN TYP MAX UNIT

EMX512SC 500

Power Consumption

EMX212S 300

AC Cord Length 2450 2500 2550 mm

Height 284

Dimensions

Width 442.5

Net Weight 8kg

WEMX312SC 450

mmDepth 264

Included Accessories Power cord, Rubber stabilizers

Options RACK MOUNT KIT (RK512), FOOT SW (FC5)

Note: All level control normally: Maximum level, Output impedance of signal generator :150 ohm

× 2, Owner’s Manual

■ Input Characteristics

Input Terminals MIC/LINE

MIC

XLR

LINE

CH INPUT 1-4

MIC

Phone

LINE

CH INPUT

5/6, 7/8

CH INPUT

9/10, 11/12

*1 0 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.

XLR — 2 kΩ 50–600 Ω Mics

Phone — 10 kΩ 600 Ω Lines

XLR — 2 kΩ 50–600 Ω Mics

Pin — 10 kΩ 600 Ω Lines

Actual

Load

Impedance

2 kΩ 50–600 Ω Mics

6 kΩ 600 Ω Lines

For Use with

Nominal

Sensitivity *2

–60 dBu

(0.775 mV)

–30 dBu

(24.5 mV)

–50 dBu

(2.45 mV)

–20 dBu

(77.5 mV)

–60 dBu

(0.775 mV)

–20 dBu

(77.5 mV)

–60 dBu

(0.775 mV)

–20 dBu

(77.5 mV)

Input Level

Nominal

(▼ position)

–35 dBu

(13.8 mV)

–5 dBu

(436 mV)

–25 dBu

(43.6 mV)

+5 dBu

(1.38 V)

–35 dBu

(13.8 mV)

+5 dBu

(1.38 V)

–35 dBu

(13.8 mV)

+5 dBu

(1.38 V)

Max. before

Clip

–15 dBu

(138 mV)

+15 dBu

(4.36 V)

–5 dBu

(436 mV)

+25 dBu

(13.8 V)

–15 dBu

(138 mV)

+25 dBu

(13.8 V)

–15 dBu

(138 mV)

+25 dBu

(13.8 V)

Connector

XLR-3-31 type *3

Phone Jack *4

XLR-3-31 type *3

Phone Jack *5

XLR-3-31 type *3

RCA Pin Jack

■ Output Characteristics

Output Terminals

SPEAKERS

[A1, A2, B1, B2]

MAIN OUT [L, R] 600 Ω 10 kΩ Lines — +4 dBu (1.23 V) +20 dBu (7.75 V) Phone Jack *2

EFFECT OUT 600 Ω 10 kΩ Lines — +4 dBu (1.23 V) +20 dBu (7.75 V) Phone Jack *2

MONITOR OUT 600 Ω 10 kΩ Lines — +4 dBu (1.23 V) +20 dBu (7.75 V) Phone Jack *2

REC OUT [L, R] 600 Ω 10 kΩ Lines — –10 dBV (316 mV) +10 dBV (3.16 V) RCA Pin Jack

*1 0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms.
*2 Phone Jacks are unbalanced.

Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify
products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please
check with your Yamaha dealer.

Actual Source

Impedance

0.1 Ω 4 Ω Speakers

For Use with

Nominal

EMX512SC 125 W 500 W

EMX312SC 75 W 300 W

EMX212S 50 W 220 W

Output Level

Nominal Max. before Clip

EMX512SC/EMX312SC/EMX212S

Connector

[A1, B1] SPEAKON
[A2, B2] Phone Jack

33

Specifications

Dimensional Diagrams

442.5

4402.5

286 264

66.1

71

54108 2842

307.8

298

66.1

71

Unit: mm

34

EMX512SC/EMX312SC/EMX212S

Block Diagram and Level Diagram

Specifications

EMX512SC/EMX312SC/EMX212S

35

For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: [phone]

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: [phone]

CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de México S.A. de C.V.

Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: [phone]

BRAZIL

Yamaha Musical do Brasil Ltda.

Av. Reboucas 2636-Pinheiros CEP: 05402-400
Sao Paulo-SP. Brasil
Tel: [phone]

ARGENTINA

Yamaha Music Latin America, S.A.
Sucursal de Argentina

Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: [phone]

PAN AMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES

Yamaha Music Latin America, S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: [phone]

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: [phone]

GERMANY

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: [phone]

SWITZERLAND/LIECHTENSTEIN

Yamaha Music Central Europe GmbH,
Branch Switzerland

Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: [phone]

AUSTRIA

Yamaha Music Central Europe GmbH,
Branch Austria

Schleiergasse 20, A-1100 Wien, Austria
Tel: [phone]

POLAND

Yamaha Music Central Europe GmbH
Sp.z. o.o. Oddzial w Polsce

ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: [phone]

THE NETHERLANDS

Yamaha Music Central Europe,
Branch Nederland

Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: [phone]

BELGIUM/LUXEMBOURG

Yamaha Music Central Europe GmbH,
Branch Belgium

Rue de Geneve (Genevastraat) 10, 1140 - Brussels,
Belgium
Tel: [phone]

FRANCE

Yamaha Musique France

BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: [phone]

ITALY

Yamaha Musica Italia S.P.A.
Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: [phone]

SPAIN/PORTUGAL

Yamaha-Hazen Música, S.A.

Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: [phone]

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: [phone]

DENMARK

YS Copenhagen Liaison Office

Generatorvej 6A
DK-2730 Herlev, Denmark
Tel: [phone]

NORWAY

Norsk filial av Yamaha Scandinavia AB

Grini Næringspark 1
N-1345 Østerås, Norway
Tel: [phone]

OTHER EUROPEAN COUNTRIES

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: [phone]

AFRICA

Yamaha Corporation,
Asia-Pacific Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: [phone]

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: [phone]

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: [phone]

ASIA

THE PEOPLE’S REPUBLIC OF CHINA

Yamaha Music & Electronics (China) Co.,Ltd.

25/F., United Plaza, 1468 Nanjing Road (West),
Jingan, Shanghai, China
Tel: [phone]

INDONESIA

PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: [phone]

KOREA

Yamaha Music Korea Ltd.

Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,
Youngdungpo-ku, Seoul, Korea
Tel: [phone]

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: [phone]

SINGAPORE

Yamaha Music Asia Pte., Ltd.

#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: [phone]

TAIWAN

Yamaha KHS Music Co., Ltd.

3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: [phone]

THAILAND

Siam Music Yamaha Co., Ltd.

891/1 Siam Motors Building, 15-16 floor
Rama 1 road, Wangmai, Pathumwan
Bangkok 10330, Thailand
Tel: [phone]

OTHER ASIAN COUNTRIES

Yamaha Corporation,
Asia-Pacific Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: [phone]

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: [phone]

COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,
Asia-Pacific Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: [phone]

PA12

Yamaha Pro Audio global web site

http://www.yamahaproaudio.com/

Yamaha Manual Library

http://www.yamaha.co.jp/manual/english/

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: [phone]

U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

© 2005 Yamaha Corporation

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