Yamaha EMX3500 User Manual

Powered Mixer
Tables de mixage á amplification de puissance

Aktiv-Mischpult

Operation Manual

Manuel d'instructions
Bedienungsanleitung

A

INPUT

B

I/O

2 3

1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

A

A
B

B

PAD

PAD

PAD







20dB

20dB

20dB

PEAK

PEAK

SIGNAL

SIGNAL

-16 -60

-15 +15

250 5k

MID FREQ

-15 +15

-15 +15

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

ON

SIGNAL

-16 -60

-16 -60

GAIN

GAIN

GAIN

80

80

80

-15 +15

-15 +15

HIGH

HIGH

HIGH

250 5k

250 5k

MID FREQ

MID FREQ

-15 +15

-15 +15

MID

MID

-15 +15

-15 +15

LOW

LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

PAN

ON

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

1

2 3 4 5 6 7 8 9 10 11 12 13 14 15

4

A

A

B

B

PAD



20dB

PEAK

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

MID

MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

PAN

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

5 6 7 8 9

A

A

A

B

PAD



20dB

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15
MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

PAD



20dB

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

ON

0

5

10

15

20

30

40

50
60

A

B

B

B

PAD

PAD





20dB

20dB

PEAK

PEAK

PEAK

SIGNAL

SIGNAL

-16 -60

-16 -60

GAIN

GAIN

80

80

-15 +15

-15 +15

HIGH

HIGH

250 5k

250 5k

MID FREQ

MID FREQ

-15 +15

-15 +15

MID

MID

MID

-15 +15

-15 +15

LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

PAN

PAN

ON

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

10 11 12 13 14 15 16

A

A

A

B

PAD

PAD





20dB

20dB

PEAK

SIGNAL

SIGNAL

-16 -60

-16 -60

GAIN

GAIN

80

80

-15 +15

-15 +15

HIGH

HIGH

250 5k

250 5k

MID FREQ

MID FREQ

-15 +15

-15 +15

MID

-15 +15

-15 +15

LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

ON

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

A

B

B

B

PAD

PAD





20dB

20dB

PEAK

PEAK

PEAK

SIGNAL

SIGNAL

-16 -60

-16 -60

GAIN

GAIN

80

80

-15 +15

-15 +15

HIGH

HIGH

250 5k

250 5k

MID FREQ

MID FREQ

-15 +15

-15 +15

MID

MID

MID

-15 +15

-15 +15

LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

PAN

PAN

ON

ON

0

0

0

5

5

5

10

10

10

15

15

15

20

20

20

30

30

30

40

40

40

50

50

50

60

60

60

A
B

PAD



20dB

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

A
B

PAD



20dB

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

0

5

10

15

20

30

40

50
60

CD IN

EFFECT RETURN +4dB

AB

-6dB

L

L

R

R

A

REC OUT

TAPE IN

-10dBV

-10dBV

LRL

BALANCED

B

CH
INSERT I/O
0dB

OUTIN

R

INSERT

L

A
B

PAD



20dB

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

16

010
MONITOR

010

EFFECT RETURN 1 EFFECT RETURN 2

0

5

10

15

20

30

40

50
60

VOCAL ECHO 1

VOCAL ECHO 2

VOCAL REVERB 1

VOCAL REVERB 2

REVERB & ECHO 1

REVERB & ECHO 2

LEVEL

1—EFFECT SEND—2LR PHONESST

VOCAL HALL/ROOM INSTRUMENT

DLY (ms)

DLY (ms)

REV (s)

REV (s)

DLY (ms)

DLY (ms)

PEAK

ON

PRESET

DIGITAL EFFECT (EFFECT 2)

+12

9
6
3
0
3

EQ

6
9

-12

63 125 250 500 1k 2k 4k 8k 16k

STEREO GRAPHIC EQUALIZER

010

010

MONITOR

MONITOR A

010

010

MONITOR B

LEVEL

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

A
B

PAD



20dB

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

EFFECT SEND +4dB

1L/

2L/

MONO

MONO

1R

2R12

LINE INSERT I/O +4dB MONITOR OUT +4dB

LRLRA

PRE GEQ POST GEQ

RST

REV (s)

LARGE HALL

SHARE GATE

REV (s)

SMALL HALL

SHARE REVERB

REV (s)

CHURCH

DELAY L, R

SIZE

ROOM

SHORT DELAY

PITCH CHORUS

PARAMETER

POWERED MIXER

010
REC OUT

010

010

TAPE IN

CD IN

A
B

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

B

PROGRAM RESET

DLY (ms)

REV (s)

DLY (ms)

DLY (ms)

DETUNE

+12
9
6
3
0
3
6
9

-12

PHANTOM

ON

OFF

010
PHONES

EMX3500m R0 1 AP

Printed in Korea

P.O. Box 1, Hamamatsu, Japan

CONGRATULATIONS!

Your Yamaha EMX3500 Powered Mixer is an ideal choice for medium-scale PA and sound reinforcement applications. The
EMX3500 is available in 12- and 16-channel models, each of which features a high-performance stereo power amplifier that
delivers a powerful 350 watts per channel into 4-ohm loads.

Each input channel offers a choice of balanced low-impedance XLR or TRS phone jack inputs, and a 20-dB pad switch and
input gain control allow precise level matching with any input source. The response of each channel signal can be indepen­dently shaped by a three-band equalizer with variable mid-range frequency. Also, each channel has dual EFFECT controls
and a MONITOR control that make possible convenient incorporation of external effects and monitoring systems, and a PAN
control that can be used to pan the channel signal across the master stereo bus.

The EFFECT 2 control also feeds the EMX3500’s internal effects processor, which is one of the highlights of the EMX series.
This sophisticated Yamaha digital signal processor provides 15 top-quality digital effects, each of which has a programmable
parameter that can be adjusted to create precisely the required sound.

In addition to the internal DSP controls, the EMX3500’s master control section includes: a nine-band stereo graphic equal­izer that allows overall output response shaping and feedback control in sound reinforcement applications; paired master
stereo faders; master EFFECT SEND faders; and EFFECT RETURN controls, which allow the returned effect signals to be
sent to the monitor system as well as the stereo bus. There are separate level controls for the dual monitor outputs, and a
level control for headphone output. Finally, there are level controls for input from and output to a recording tape deck, and a
level control for two pairs of selectable CD IN jacks that allow input from CD players or similar sound sources.

In addition to line-insert I/O jacks for each channel, the EMX3500 offers both pre-GEQ and post-GEQ line insertion to the
master stereo bus. These connectors, when combined with the dual effects circuits, give the EMX3500 a formidable degree
of signal-processing versatility. In addition, +48V phantom power is provided for convenient powering of condenser micro­phones.

We urge you to read this operation manual thoroughly in order to get the best performance out of the mixer’s many features
and controls. Please keep the manual in a safe place for later reference.

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 of 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 coaxial 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, CA 90620

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

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:

GREEN-AND-YELLOW : EARTH

BLUE : NEUTRAL

BROWN: LIVE

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 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.

ADVARSEL!

Lithiumbatteri–Eksplosionsfare ved fejlagtig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og type.

Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp

eller en ekvivalent typ som rekommenderas av apparattillverkaren.

Kassera använt batteri enligt fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda

paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä

käytetty paristo valmistajan ohjeiden mukaisesti.

1

CONTENTS

PRECAUTIONS ...............................................................................................................3

CONTROLS AND CONNECTORS ..................................................................................4

Front Panel: Input Channel Controls ..........................................................................4

Front Panel: Master Control Section ........................................................................... 6

Top Panel ...................................................................................................................8

Rear Panel ............................................................................................................... 10

OPERATING TIPS ......................................................................................................... 11

Cautions for Connected Sources ..............................................................................11

Matching Input Levels............................................................................................... 11

Setting Channel and Master Faders .........................................................................11

Using the Channel Equalizers .................................................................................. 12

Using the Digital Signal Processor ...........................................................................12

Using the Graphic Equalizer .....................................................................................13

Connecting Speakers ...............................................................................................13

CONNECTION EXAMPLE .............................................................................................14

SPECIFICATIONS .........................................................................................................15

Input Characteristics .................................................................................................16

Output Characteristics ..............................................................................................16

Console Dimensions ................................................................................................17

BLOCK AND LEVEL DIAGRAMS .................................................................................. 18

2

PRECAUTIONS

Please keep the following points in mind when installing and operating your Yamaha EMX3500 Powered Mixer. Also be sure
to read the precautions in the Operating Tips section before using the EMX3500.

• AVOID EXCESSIVE HEAT, HUMIDITY, DUST, AND VIBRATION

Keep the EMX3500 away from locations (such as near radiators, stoves, etc.) where it is likely to be exposed to high
temperatures or humidity. Also avoid locations where the mixer may be exposed to excessive dust accumulation or
vibration that could cause mechanical damage.

• INSTALL IN A WELL-VENTILATED LOCATION

The internal circuitry of the EMX3500 produces heat that can become a potential fire hazard if not properly ventilated.
When setting up the EMX3500 for operation, be sure to leave at least 10 cm between it and any adjacent walls or sur­rounding equipment.

• AVOID PHYSICAL SHOCKS

Do not drop the EMX3500 or subject it other strong physical shocks, as doing so can damage the it. Handle the mixer with
care, and transport it in a suitable hard case or flight case.

• DO NOT OPEN THE UNIT OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF

The EMX3500 contains no user-serviceable parts. Refer all maintenance and repairs to qualified Yamaha service person­nel. Opening the case and/or tampering with the internal circuitry will void the warranty.

• MAKE SURE THE POWER IS OFF BEFORE MAKING OR REMOVING CONNECTIONS

Always turn the power OFF before connecting or disconnecting cables. If you insert or remove cables with the power on,
you run the risk of damaging both the mixer and any connected equipment.

• HANDLE CABLES CAREFULLY

Always plug and unplug cables (including the AC power cable) by gripping the connector, not the cord itself.

• CLEAN WITH A SOFT, DRY CLOTH

Never use solvents such as benzine or thinner to clean the EMX3500. Should the mixer become dirty, wipe it clean with a
soft, dry cloth.

• ALWAYS USE THE CORRECT POWER SOURCE

Make sure that the power requirements on the rear panel of the EMX3500 match your local AC mains supply.

• KEEP SPEAKER PLUGS CLEAN

Solid phone plugs can overheat when inserted in the rear-panel SPEAKER jacks of the EMX3500, causing a potential fire
hazard. Make a habit of checking the metal tips of your speaker plugs, and cleaning them if necessary, before connecting
them to the EMX3500.

3

CONTROLS AND CONNECTORS

Front Panel: Input Channel Controls

1 Input selector switch

16

A
B

PAD



20dB

PEAK

SIGNAL

1
2

3

This switch selects the input connector via which the
source is connected to the channel. Leave the switch
out if the source is connected via the A (balanced XLR)
input connector. Push it in when the source is con­nected via the B (balanced 1/4" phone) connector.

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15

MID

-15 +15
LOW

010

MONITOR

010

EFFECT 1

010

EFFECT 2

LR

PAN

ON

16

4

2 PAD switch

This switch attenuates the signal applied to channel (at

5

the corresponding A input connector or B input jack on
the top panel) by 20 dB prior to the head amplifier and
input gain control. This feature can be used to prevent
high-level signals from overloading the input circuitry,
allowing the mixer to handle a wider range of input

6

signal levels.

3 SIGNAL and PEAK LED indicators

These two LED indicators let you check the level of the
signal input to the channel. The green SIGNAL indica­tor lights when a signal of 10 dB below the nominal

7

channel level is received. The red PEAK indicator lights
when the input signal reaches 3 dB below the
channel’s clipping point. Both of these indicators show

8

the level of the post-EQ/pre-fader signal. If the PEAK
indicator lights more than briefly on high-level tran-

9

sients, you should use the PAD switch or the GAIN
control to decrease the input sensitivity of the channel.
If this does not work, reduce the output level of the

0

A

connected source.

4 GAIN control

This control adjusts the channel’s input sensitivity
between –60 dB and –16 dB when the PAD switch is
off, or between –40 dB and +4 dB when the PAD

0

5

10

15

20

30

40

50
60

B

switch is on. Continuously variable gain control allows
optimum adjustment to virtually any microphone or line
source.

5 HPF switch

This switch causes the channel to be filtered through
an HPF with a 12 dB/octave roll-off at 80 Hz. This
feature is useful for reducing low-frequency noise such
as an AC mains hum or wind noise.

4

6 Equalizer controls

This set of four controls allows you to individually
modify the channel’s response. Each channel of the
EMX3500 is equipped with a three-band equalizer (EQ)
that has shelving HIGH and LOW controls, and a
peaking MID control with a sweepable center fre­quency (which is adjusted by the MID FREQ control).
Refer to “Using the Channel Equalizers” on page 12 for
details on the use of these controls.

9 EFFECT 2 control

This control determines the level of the post-EQ/post­fader signal that is sent from the channel to the Effect 2
mixing bus. The channel signals mixed by this bus are
sent via the EFFECT SEND 2 fader to the EFFECT
SEND 2 jack on the top panel . The output signal is
also fed into the EMX3500’s internal digital signal
processor. Thus, a signal fed to the Effect 2 bus using
this control can be processed externally or internally.

Control Max. boost/cut Frequency Type

HIGH ±15 dB 12 kHz Shelving

MID ±15 dB 250 Hz to 5 kHz Peaking

LOW ±15 dB 80 Hz Shelving

20

MIDFREQ250 5k

10

0

Response(dB)

-10

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

Frequency(Hz)

7 MONITOR control

This control determines the level of the post-EQ/pre­fader signal that is sent from the channel to the monitor
mixing bus. All signals sent to the Monitor bus are
mixed, then fed to the two MONITOR OUT jacks on the
top panel after their final output levels have been set by
the MONITOR A and B controls in the master control
section.

8 EFFECT 1 control

This control determines the level of the post-EQ/post­fader signal that is sent from the channel to the Effect 1
mixing bus. The channel signals mixed by this bus
have their overall level set by the EFFECT SEND 1
fader, then are sent to the EFFECT SEND 1 jack. The
output from this jack can be processed by an external
effect device.

0 PAN control

This control pans the channel signal across the master
L and R buses, thus determining the perceived position
of the sound from that channel in the output stereo
sound field. If a PAN control is set all the way to the
left, for example, the sound from that channel will be
heard from the left speaker system only. If it is set all
the way to the right, the sound will be heard from the
right speaker system only. Intermediate settings will
cause the sound to appear at corresponding locations
in the stereo sound field.

A Channel ON switch

This switch enables input from the channel to the
mixing buses. When turned off (that is, when the button
is out), the channel will be removed from the mix.
Turning off unneeded channels may help to minimize
noise during quite passages.

B Channel fader

This is the channel’s main level control. It determines
the level of the signal that is sent from the channel to
the master mixing and effect buses. It is the settings of
the input channel faders that determine the “mix,” or
the balance of sound levels between the instruments or
other sources connected to the inputs. When a channel
is not being used, its fader should be set at the mini­mum position to prevent the addition of unwanted noise
to the main program signal.

5

Front Panel: Master Control Section

L

VOCAL HALL/ROOM INSTRUMENT

VOCAL ECHO 1

VOCAL ECHO 2

VOCAL REVERB 1

VOCAL REVERB 2

REVERB & ECHO 1

REVERB & ECHO 2

ON

EQ

010

MONITOR

010

LEVEL

EFFECT RETURN 1 EFFECT RETURN 2

0

5

10

15

20

30

40

50
60

1—EFFECT SEND—2LR PHONESST

DLY (ms)

DLY (ms)

REV (s)

REV (s)

DLY (ms)

DLY (ms)

PEAK

PRESET

+12

9
6
3
0
3
6
9

-12

63 125 250 500 1k 2k 4k 8k 16k

STEREO GRAPHIC EQUALIZER

010

MONITOR

010

LEVEL

0

5

10

15

20

30

40

50
60

MONITOR A

MONITOR B

LARGE HALL

SMALL HALL

CHURCH

ROOM

DIGITAL EFFECT (EFFECT 2)

HFI

010

010

0

5

10

15

20

30

40

50
60

REV (s)

REV (s)

REV (s)

SIZE

PARAMETER

010

CD IN

A
B

RST

SHARE GATE

SHARE REVERB

DELAY L, R

SHORT DELAY

PITCH CHORUS

POWERED MIXER

J

010
REC OUT

010

TAPE IN

0

5

10

15

20

30

40

50
60

DLY (ms)

REV (s)

DLY (ms)

DLY (ms)

DETUNE

PROGRAM RESET

+12
9
6
3
0
3
6
9

-12

PHANTOM

ON

OFF

010
PHONES

C

D

E

L

M

N

D DIGITAL EFFECT section

This section lets you control the EMX3500’s internal
digital signal processor. The bank of LED indicators at
the top of the section show the current DSP program
selection, which is changed using the PROGRAM
control. The three-digit seven-segment LED display
shows the value of the programmable parameter for
the currently selected DSP program, which is adjusted
by the PARAMETER control. The PRESET LED
indicator lights when the programmable parameter is
set to its factory value. The ON switch selects between
input from the internal DSP and input from the EFFECT
RETURN 2 jacks. The PEAK LED lights when the DSP
output signal nears the clipping level. Finally, the
RESET switch can be used to restore the DSP factory
settings. Refer to “Using the Digital Signal Processor”
on page 12 for details on the use of this section.

E STEREO GRAPHIC EQUALIZER section

The EMX3500’s internal stereo graphic equalizer
(GEQ) allows fine response shaping of the main
program output. This section has nine linear controls,
corresponding to center frequencies of 63 Hz, 125 Hz,
250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, and 16
kHz. Each control permits a maximum boost or cut of
12 dB. When a control is set to the center or “0”
position, the response in the corresponding band is
unaffected. The EQ switch turns the graphic equalizer
on and off.

+15

+10

+5

C VU meters

These precision VU meters display the levels of the
signals output by the mixer’s power amplifier (the
SPEAKER jacks on the rear panel). These meters
serve as useful guides when setting optimum output
levels using the master stereo faders.

6

G

K

0

-5

Response(dB)

-10

-15
20 100 1k 10k 20k

Frequency(Hz)

F EFFECT RETURN controls

These controls adjust the levels of the signals that are
received at the corresponding EFFECT RETURN jacks
on the top panel (or from the internal digital signal
processor, when the DSP is used in place of external
input to the EFFECT RETURN 2 jacks). Each effect
return circuit has two controls. The LEVEL control
adjusts the level of the signal that is mixed into the
main program on the master mixing bus. The MONI­TOR control sets the level of the signal that is mixed
into the Monitor bus, where it is mixed with other
signals for output by the MONITOR OUT jacks on the
top panel.

G EFFECT SEND faders

These faders adjust the overall output levels of the
effect mixes that are set up using the EFFECT 1 and
EFFECT 2 controls of each input channel. The EF­FECT SEND 1 fader sets the overall level of the signal
that appears at the EFFECT SEND 1 jack on the top
panel. The EFFECT SEND 2 fader sets the overall
level of the Effect 2 mix signal, which is sent to both the
EFFECT SEND 2 jack on the top panel and the internal
digital signal processor. These faders should be used
to optimally match the effect mix output levels to the
input sensitivities of the effect signal processors used.

H MONITOR output level controls

These controls adjust the overall output levels of the
monitor mix that are set up using the MONITOR control
of each input channel. The same monitor mix signal is
sent to both the MONITOR OUT A and B jacks on the
top panel; however, the output level of each can be set
separately using the corresponding MONITOR output
level control. These controls should be used to opti­mally match the monitor mix output levels to the input
sensitivities of the power amplifiers used.

I CD IN controls

The CD IN control adjusts the level of the input signals
from CD players or similar sound sources that are
connected to the master mixing bus from the stereo CD
IN jacks on the top panel. These signals are added to
the bus in front of the GEQ, allowing the EMX3500 to
equalize the signals from the CD players before output.
The CD IN A/B switch, located below the CD IN
control, selects between input from the CD IN A and
CD IN B jacks.

J REC OUT and TAPE IN controls

These controls adjust the levels of the stereo signals to
and from a connected tape deck. The REC OUT
control sets the level of the unequalized pre-fader
master mix signal that is sent for recording by the tape
deck via the REC OUT jacks on the top panel. The
TAPE IN control adjusts the level of the playback signal
that is inserted to the master mixing bus from the TAPE
IN jacks on the top panel. This playback signal is
added to the bus in front of GEQ, allowing the
EMX3500 to equalize the signal from the tape deck
before output.

K Master stereo faders

These are the main volume controls for the overall
program mix. They independently adjust the levels of
the right and left channels of the stereo signal that is
sent to both the rear-panel SPEAKER jacks and the
PHONES jack on the front panel.

L PHANTOM ON/OFF switch and LED indicator

The PHANTOM ON/OFF switch turns the phantom
power feature on and off. When turned on, this function
supplies +48V power to the positive and negative
terminals of the balanced XLR connectors (A) via 6.8
kΩ current-limiting/isolation resistors for use by phan­tom-powered condenser microphones. Signal sources
that don't require phantom power should be connected
to the phone jack (B) when phantom power is used.
The PHANTOM LED indicator lights when phantom
power is on.

M PHONES control

This control adjusts the level of the stereo signal
delivered from the PHONES jack located directly below
it on the front panel. Since this level adjustment is
made after the GEQ, the volume of sound heard from
the headphones will be affected by both the master
stereo faders and the PHONES control.

N PHONES jack

This jack delivers the main program signal to a pair of
40Ω stereo monitor headphones. The volume of the
output signal is adjusted by both the PHONES control
and the master stereo faders.

7

Top Panel

QSR

A

O

B

P

Phantom Power Warning

To prevent hazard or damage, connect only microphones and cables that
conform to the IEC268-15A standard.

O Channel input connectors

Each of the EMX3500's input channels is provided with
both a balanced XLR connector (A) and a balanced tip­ring-sleeve 1/4" phone jack (B). The channel's input
selector switch on the front panel is used to select
between these input connectors. Signal sources that
don't require phantom power should be connected to
the phone jack (B) when the PHANTOM POWER ON/
OFF switch is turned on.

Line XLR (A) Phone jack (B)

GROUND Pin 1 Sleeve

I/O

1

2 3

CD IN

AB

-6dB

L

R

REC OUT

L

R

-10dBV

TAPE IN

-10dBV

EFFECT RETURN +4dB

1L/

L

MONO

R

1R

LINE INSERT I/O +4dB MONITOR OUT +4dB

L

L

R

R

PRE GEQ POST GEQ

2L/

MONO

2R

L

R

EFFECT SEND +4dB

1

2

A

B

TVU

P Channel insert I/O jack

Each input channel has a tip-ring-sleeve 1/4" phone
jack that serves as an insert patch point for the connec­tion of external signal processing devices or other
equipment between the channel’s head amplifier (the
first amplifier stage after input) and the EQ stage. The
channel insertion point is ideal for the insertion of a
compressors, noise gate, equalizer, or other effect that
needs to be applied to a specific channel only. This
jack accommodates both the send (output) and receive
(input) lines required by the insert point. The signals
are sent and received at a nominal level of +0 dB.

HOT (+) Pin 2 Tip

COLD (-) Pin 3 Ring

TIP-RING-SLEEVE PHONE PLUG

Tip : output (send to external device)

GND

+

(PHANTOM)

A

B

GND

PAD

SR T

--+

HA

Sleeve :ground

Ring : input (return from external device)

8

Q CD IN jacks

These phono jacks accept line-level (–6 dB) input
signals from CD players, DAT decks, or similar play­back sources. These signals are added to the master
stereo mixing bus in front of the GEQ. The selection
between input from the CD IN A jack and the CD IN B
jack is made using the CD IN A/B switch on the front
panel.

R EFFECT RETURN jacks

The output from external effect units fed by the EF­FECT SEND jacks can be returned to the main pro­gram mix via these 1/4" phone jacks. Note that both
effect circuits have stereo EFFECT RETURN jacks,
allowing the EMX3500 to accommodate effect devices
with stereo output. To return a monophonic effect
signal to both channels of the master stereo mixing
bus, use the EFFECT RETURN L jack. (The R jack
should be left open.) The levels of the signals input by
these jacks are adjusted by the corresponding EF­FECT RETURN controls on the front panel. The
nominal input level for these jacks is +4 dB.

T REC OUT and TAPE IN jacks

These phono jacks are used to send stereo signals
(–10 dBV) to and from a connected tape deck. The
REC OUT jacks send the unequalized pre-fader signal
from the master bus for recording by the tape deck.
The TAPE IN jacks connect the playback signal from
the tape deck to the master mixing bus in front of the
GEQ. The levels of these signals are adjusted by the
REC OUT and TAPE IN controls on the front panel.

U LINE INSERT I/O jacks

These tip-ring-sleeve 1/4" phone jacks serve as insert
patch points for the connection of external signal
processing devices or other equipment to the master
stereo mixing bus. There are two pairs of jacks,
allowing the devices to be connected both in front of
and behind the GEQ. The line insertion points are ideal
for the insertion of stereo effects that need to be
applied to the entire mix. These jacks accommodate
both the send (output) and receive (input) lines re­quired by the insert points. The signals are sent and
received at a nominal level of +4 dB.

S EFFECT SEND jacks

These 1/4" phone jacks deliver the corresponding
effect mix signals to feed external effect devices. Note
that the EFFECT SEND 2 output is active even when
the internal digital signal processor is turned on. The
levels of the signals output by these jacks are adjusted
by the corresponding EFFECT SEND controls on the
front panel. The nominal output level for these jacks is
+4 dB.

V MONITOR OUT jacks

These 1/4" phone jacks deliver the signal from the
monitor mixing bus to feed external monitor speaker
systems driven by external amplifiers. Although both
these jacks output the same monitor mix signal, their
output levels can be adjusted individually using the
corresponding MONITOR output level controls on the
front panel. These jacks have a nominal output level of
+4 dB.

9

Rear Panel

WX

POWER

SPEAKER 1

LR

SPEAKER 2

LR

W POWER switch

This switch turns the EMX3500’s power supply on and
off. The VU meters on the front panel will light when the
power is on.

X SPEAKER jacks

These standard 1/4" phone jacks are the main
speaker-level outputs from the EMX3500’s power
amplifier. The EMX3500 provides two pairs of stereo
speaker output jacks, labeled SPEAKER 1 and
SPEAKER 2. The SPEAKER 1 and SPEAKER 2 jacks
for each output channel (right and left) are wired in
parallel. If you connect a speaker system to only one of
the jacks (SPEAKER 1 or SPEAKER 2), the total load
impedance of the speaker system may be as low as
4Ω. If you plug speakers into both the SPEAKER 1 and
SPEAKER 2 jacks of either channel, the load imped­ance of each speaker system must be no less than 8Ω.

10

OPERATING TIPS

Cautions for Connected Sources

Please observe the following cautions when connecting
sound sources to the EMX3500:

• TURN THE POWER OFF FIRST

Always make sure that the mixer’s POWER switch is
turned off before connecting or disconnecting any
cables. Failure to do so can damage the EMX3500 or
connected equipment.

• TURN THE MIXER ON LAST

Always turn the mixer’s POWER switch on after first
turning on connected sound sources such as electronic
instruments or audio equipment.

• DO NOT CONNECT AMPLIFIED INPUT

Never connect the speaker-level output of any amplifier
to the mixer’s inputs unless you use a suitable high­level attenuation pad or “direct box” to lower the signal’s
level.

the output level of the source must be reduced. Normally,
however, you will have to increase the input sensitivity to
achieve optimum matching.

Gradually increase the setting of the GAIN control until the
PEAK indicator just barely flashes on the loudest peaks. If
you turn the GAIN control up all the way and the PEAK
indicator still does not light, then reduce the GAIN control
setting to minimum, turn the PAD switch off, and gradually
increase the GAIN setting again. This time the PEAK
indicator should light somewhere in the GAIN control
range. If it does not, check that the source is functioning
properly and that it is properly connected to the appropri­ate input of the mixer. You may also want to check the
connecting cable for faults.

Since the PEAK indicator lights when the channel signal is
3 dB below the clipping level, it is okay if it flashes briefly
on loud peaks. In fact, this is about the optimum input
sensitivity setting. When you’ve matched the first channel,
set its fader to minimum and begin matching the next
channel. Repeat this procedure for each channel you will
use in the mix.

Matching Input Levels

When matching input levels, it is a good idea to first make
sure that the speaker systems are disconnected from the
mixer’s speaker outputs. (This must be done with the
mixer’s POWER switch turned off.) The sound can be
monitored using a pair of headphones plugged into the
front-panel PHONES jack—but make sure that the master
stereo faders are set to their minimum levels at first, then
raise them just enough to produce a comfortable sound
level when you actually begin monitoring input signals and
matching levels.

Once all your sources are connected and the entire
system is turned on, it is important to accurately match the
input sensitivity of each input channel with the source
signal it will receive. Do this one channel at a time. Begin
by setting the lowest possible sensitivity for the input: turn
the PAD switch on, set the GAIN control to –16, and slide
the channel fader to between “10” and “5” on its scale.

Now apply a signal to the input. Play the connected source
instrument at the loudest level it will produce in actual
use—or if the source is a microphone, have the vocalist
sing his or her loudest note into it—and watch the
channel’s PEAK indicator carefully. If it lights at this point,

Once the input level of each channel has been matched,
set the master stereo faders to their minimum positions
and turn the POWER switch off. Reconnect the speaker
systems, then turn the power back on. The master faders
can now be gradually raised to their operating levels.

Setting Channel and Master Faders

The final positions of the channel faders will naturally
depend on the overall mix you set up. However, there are
two important points you should keep in mind when setting
channel levels.

The channel faders have an optimum range that provides
the maximum control margin with minimum noise and
distortion. The optimum range for the channel faders on
the EMX3500 is between about “5” and “15” on their
scales. There is no rule that says you must avoid higher or
lower settings, but remember that the best sound quality
can be achieved within this range. Settings in this range
also provide sufficient leeway for later adjustments.

Remember, too, that changing the setting of any single
input channel fader will affect the overall output level. This
is why it is important to watch the VU meters when setting
the input channel and master stereo faders. These meters

11

should never read levels higher than about 0 VU. If they
do, then the mixer levels are too high and the power
amplifier may be overloaded, causing distortion.

It is generally best to use the master stereo faders when
making small adjustments to the overall output level. But if
these faders must be set to extremely low or high positions
(lower than about “20” or higher than “5” on their scales),
then the overall mix should be re-adjusted using the input
channel faders so that the VU meters show a proper level
when the master stereos are set within the range de­scribed above.

Using the Channel Equalizers

Each of the EMX3500’s input channels has four equalizer
(EQ) controls that make it possible to independently
equalize the channel’s signal to some degree. The rule of
thumb, however, is that equalization should not be used
unless it is absolutely necessary. Always put some effort
into proper microphone selection, careful microphone
placement, and fine adjustment of source instrument
controls before resorting to equalization. Settle for this
option only if you have set everything up as best you can
and are still not satisfied with the sound.

Channel equalization can be most useful in tonally sepa­rating one sound from another, or from a group of sounds.
Slightly boosting the high frequency of a guitar sound, for
example, can give it the extra bite it needs to stand out
more clearly from the background. Vocals tend to stand
out better if given a bit of boost in the middle range.
Speech generally benefits from a reduction in the low
frequencies, to prevent the “boomy” sound that occurs
when the speaker gets too close to the microphone.
Experimentation and experience will tell you how much of
what type of equalization is appropriate for different sound
sources.

Also keep in mind the fact that the channel’s PEAK LED
indicator is post-EQ. Excessive boosting of a signal
frequency may cause the PEAK LED to light more than
briefly, indicating that you need to either reduce the input
gain or reduce the amount of boost being applied.

has one parameter that can be edited to modify the sound
of the effect. The table below lists the programmable
parameter and its possible values for each program.

Program Param Range Preset

VOCAL ECHO 1 Delay 1–370 ms 125

VOCAL ECHO 2 Delay 1–370 ms 125

VOCAL REVERB 1 Reverb 0.3–10 s 3.2

VOCAL REVERB 2 Reverb 0.3–10 s 2.2

REVERB & ECHO 1 Delay 1–300 ms 174

REVERB & ECHO 2 Delay 1–300 ms 125

LARGE HALL Reverb 0.3–10 s 2.4

SMALL HALL Reverb 0.3–10 s 2.6

CHURCH Reverb 0.3–10 s 2.6

ROOM Size 0.1–10 1.8

SNARE GATE Delay 1–350 ms 100

SNARE REVERB Reverb 0.3–10 s 1.2

DELAY L, R Delay 1–740 ms 147

SHORT DELAY Delay 0.1–99.9 ms 80

PITCH CHORUS Detune 0–100 12

Use the ON switch in the DIGITAL EFFECT section to turn
the internal DSP on and off. The EFFECT RETURN 2
controls will adjust the level of the signal output by the
internal DSP, and any input signals to the EFFECT
RETURN 2 jacks will be ignored.

The PEAK LED indicator to the right of the ON switch will
light if the input signal to the DSP’s analog-to-digital
converter reaches a level 3 dB below the clipping level. If
the PEAK indicator lights more than just briefly on transient
peaks, you should reduce the EFFECT SEND 2 fader
setting to avoid distortion of the effect signal.

The current program selection is indicated by the bank of
LED indicators at the top of the DIGITAL EFFECT section.
(When the POWER switch of the EMX3500 is turned on,
the internal DSP will automatically select the program that
was selected when the power was last turned off.) To
change the program selection, simply turn the PROGRAM
control.

Using the Digital Signal Processor

The EMX3500’s built-in digital signal processor (DSP)
features 15 top-quality digital effects. Each effect program

12

The three-digit 7-segment LED display shows the current
setting of the programmable parameter for the selected
program. Turn the PARAMETER control to change this
value. The PRESET indicator will light when the displayed

value is the same as the factory preset value for the
parameter.

You can reset all of the internal DSP settings to their
factory presets by using a ball-point pen or other fine­tipped object to press the RESET switch. Doing so will
restore the programmable parameters of all effect pro­grams to their preset values. It will also return the current
program selection to the first program, VOCAL SEND 1.

Using the Graphic Equalizer

The EMX3500’s built-in graphic equalizer (GEQ) has two
main uses: compensation for acoustic deficiencies in the
listening area, and feedback control. Like the channel
equalizers, the GEQ should not be used unless it is
absolutely necessary. The more equalization you use, the
more phase deviation you introduce into the program
signal—and the greater the chance that the phase devia­tion can result in an unnatural, distorted sound.

There are many instances, however, in which the acoustic
characteristics of the listening area cause response
anomalies. Large areas of uncovered glass or tiled floors,
for example, are extremely effective reflectors of high­frequency sound. Amplified sound produced in such
environments can seem painfully sharp, in which case
some reduction in the high-frequency range may be called
for.

Smaller symmetrical rooms (a square room being the
worst case) can actually have resonant frequencies within
the audible low-frequency range. In such rooms, a slight
reduction in the low frequencies can help to clarify the
sound. Please note that in almost all cases, good equaliza­tion demands a cut in the offending frequency range rather
than a boost in ranges where response is lacking.

The GEQ can also be used—although to a limited de­gree—to control feedback. Proper microphone placement
is the primary means of preventing feedback, but this can
be extremely difficult if you’re working in a tight stage area.
To get around this problem, try cutting response in the
frequency range where the feedback is occurring. (You
may have to experiment a bit to find this range.) This
solution will compromise the overall frequency response of
the program, but it is better than running the risk of squeal­ing feedback in the middle of an important performance.

Connecting Speakers

The EMX3500 Powered Mixer has two 1/4" phone jack
speaker outputs per channel. The outputs for each chan­nel are connected in parallel internally. This places some
restrictions on their use, as described below:

• If you connect speakers to only one of the output
jacks (SPEAKER 1 or SPEAKER 2), on either
channel (R or L), the total impedance of the
speaker system connected to that channel may
be no less than 4 ohms.

• If you plug speakers into both the SPEAKER 1
and SPEAKER 2 jacks of either channel (R or L),
the total load impedance of the speaker systems
connected to each output of that channel must be
no less than 8 ohms. (Note that two 8-ohm
speaker systems connected in parallel form a 4­ohm load).

• The maximum total impedance of speakers
connected to the speaker outputs of each chan­nel should be 16 ohms.

• The maximum speakers allowable per channel
are: one 4-ohm speaker, two 8-ohm speakers, or
four 16-ohm speakers.

Although a higher total load impedance than the recom­mended 16 ohms will only result in a loss of power output,
a total load impedance that is too low can actually damage
the EMX3500. The EMX3500’s maximum output power is
350 watts per channel with a total load impedance of 4
ohms (one 4-ohm speaker or two 8-ohm speakers), or 200
watts per channel with a total load impedance of 8 ohms
(one 8-ohm speaker or two 16-ohm speakers).

• Never connect or disconnect speakers while the
mixer’s power supply is turned on!

• Solid phone plugs can overheat when inserted in
the rear-panel SPEAKER jacks of the EMX3500,
causing a potential fire hazard. Make a habit of
checking the metal tips of your speaker plugs,
and cleaning them if necessary, before connect­ing them to the EMX3500.

13

CONNECTION EXAMPLE

PA-type Speakers

Tape Recorder CD Player, Tape Player, DAT Player

LR

SPEAKER 2

LR

SPEAKER 1

Multi-Effect Processor

Reverberator

A

INPUT

B

I/O

1

2 3

123456789101112

A

A
B

B

PAD

PAD







20dB

20dB

PEAK

PEAK

SIGNAL

SIGNAL

-16 -60

-16 -60

-16 -60
GAIN

GAIN

80

80

-15 +15

-15 +15

-15 +15
HIGH

HIGH

250 5k

250 5k

250 5k

MID FREQ

MID FREQ

-15 +15

-15 +15

-15 +15

MID

MID

-15 +15

-15 +15

-15 +15
LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

PAN

ON

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

1

23456789101112

A
B

PAD
20dB

PEAK

SIGNAL

GAIN

80

HIGH

MID FREQ

MID

LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

4

A
B

PAD



20dB

PEAK

SIGNAL

-16 -60
GAIN

80

-15 +15
HIGH

250 5k

MID FREQ

-15 +15
MID

-15 +15
LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

0

5

10

15

20

30

40

50
60

5 6 7 8 9

A

A

A

B

B

B

PAD

PAD

PAD







20dB

20dB

20dB

PEAK

PEAK

PEAK

SIGNAL

SIGNAL

SIGNAL

-16 -60

-16 -60

-16 -60

GAIN

GAIN

GAIN

80

80

80

-15 +15

-15 +15

-15 +15

HIGH

HIGH

HIGH

250 5k

250 5k

250 5k

MID FREQ

MID FREQ

MID FREQ

-15 +15

-15 +15

-15 +15

MID

MID

LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

MID

-15 +15

-15 +15

LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

PAN

ON

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

-15 +15

0

5

10

15

20

30

40

50
60

10 11 12

A

A

A

B

PAD



20dB

PEAK

SIGNAL

GAIN

80

HIGH

MID FREQ

MID

LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

A

B

B

PAD

PAD





20dB

20dB

PEAK

PEAK

SIGNAL

SIGNAL

-16 -60

-16 -60

GAIN

GAIN

80

80

-15 +15

-15 +15

HIGH

HIGH

250 5k

250 5k

MID FREQ

MID FREQ

-15 +15

-15 +15

MID

MID

-15 +15

-15 +15

LOW

LOW

010

010

MONITOR

MONITOR

010

010

EFFECT 1

EFFECT 1

010

010

EFFECT 2

EFFECT 2

LR

LR

PAN

PAN

ON

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

B

PAD



20dB

PEAK

SIGNAL

-16 -60

-16 -60

GAIN

80

-15 +15

-15 +15

HIGH

250 5k

250 5k

MID FREQ

-15 +15

-15 +15

MID

-15 +15

-15 +15

LOW

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

PAN

ON

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

PAD



20dB

-16 -60

-15 +15

250 5k

MID FREQ

-15 +15

-15 +15

010
MONITOR

010
EFFECT 1

010
EFFECT 2

LR

0

5

10

15

20

30

40

50
60

A

BALANCED

B

CH
INSERT I/O
0dB

INSERT

OUTIN

A
B

PEAK

SIGNAL

GAIN

80

HIGH

MID

LOW

010
MONITOR

010

PAN

LEVEL

EFFECT RETURN 1 EFFECT RETURN 2

ON

0

5

10

15

20

30

40

50
60

1

—EFFECT SEND—2LR PHONESST

VOCAL ECHO 1

VOCAL ECHO 2

VOCAL REVERB 1

VOCAL REVERB 2

REVERB & ECHO 1

REVERB & ECHO 2

ON

EQ

0

5

10

15

20

30

40

50
60

CD IN

EFFECT RETURN +4dB

AB

-6dB

1L/

L

MONO

R

1R

TAPE IN

LINE INSERT I/O +4dB MONITOR OUT +4dB

-10dBV

LRLRA

R

PRE GEQ POST GEQ

L

LARGE HALL

DLY (ms)

SMALL HALL

DLY (ms)

CHURCH

REV (s)

ROOM

REV (s)

DLY (ms)

DLY (ms)

DIGITAL EFFECT (EFFECT 2)

STEREO GRAPHIC EQUALIZER

010

MONITOR A

010

MONITOR B

0

0

5

5

10

10

15

15

20

20

30

30

40

40

50

50

60

60

MONO

REV (s)

REV (s)

REV (s)

SIZE

010

CD IN

A
B

2L/

2R12

SHARE GATE

SHARE REVERB

DELAY L, R

SHORT DELAY

PITCH CHORUS

PARAMETER

0

5

10

15

20

30

40

50
60

RST

POWERED MIXER

010
REC OUT

010
TAPE IN

L

R

REC OUT

-10dBV

LRL

VOCAL HALL/ROOM INSTRUMENT

PEAK

PRESET

+12

9
6
3
0
3
6
9

-12

63 125 250 500 1k 2k 4k 8k 16k

010
MONITOR

010

LEVEL

EFFECT SEND +4dB

B

PROGRAM RESET

Graphic Equalizer

DLY (ms)

REV (s)

DLY (ms)

DLY (ms)

DETUNE

+12
9
6
3
0
3
6
9

-12

PHANTOM

ON

OFF

010
PHONES

Power Amplifier

Monitor Speakers

14

Microphones

Effector (Compressor, etc.)

CD Player,
Tape Player

Keyboard,
Rhythm Programmer,
Electric Drums

Headphones

SPECIFICATIONS

Maximum Output Power

350W+350W/4Ω, 200W+200W/8Ω, 0.5% THD at 1kHz

Total Harmonic Distortion

Channel Input to Post-GEQ OUT

Less than 0.1%, 20Hz — 20kHz, +4dB output

Post-GEQ IN to SPEAKER OUT

Less than 0.1%, 20Hz — 20kHz, 175W output into 4

Frequency Response

+1, -3dB, 20Hz — 20kHz, 1W into 4Ω

Hum & Noise

-128dB Equivalent Input Noise

-96dB Residual Output Noise (Pre-GEQ Out)

-96dB Residual Output Noise (Effect Send, Monitor

-73dB Residual Output Noise (Speaker Out)

-90dB (Pre-GEQ)

-80dB (EFFECT SEND)

-83dB (MONITOR OUT)

Maximum Voltage Gain

64dB CH IN to Pre-GEQ OUT
64dB CH IN to MONITOR OUT A, B
70dB CH IN to EFFECT SEND 1 — 2
0dB EFFECT RETURN 1, 2 to Pre-GEQ OUT
0dB EFFECT RETURN 1, 2 to MONITOR OUT
12dB TAPE IN 1, 2 to Pre-GEQ OUT
10dB CD IN to Pre-GEQ OUT
31dB Post-GEQ IN to SPEAKER OUT at 8Ω

Crosstalk (at 1kHz)

70dB Adjacent input channels
70dB Input to Output

Input Channel Gain Control

44dB variable from -60dB to -16dB

Input Channel PAD Switch

0/20dB of attenuation

Input Channel Select Switch

A or B (XLR/PHONE)

(Average, Rs=150Ω, w/BPF 20Hz — 20kHz)

Out)

Master fader at maximum level and all channel
switches OFF.

Master fader at maximum level and all channel
EFFECT controls at minimum level.

Master VR at maximum level and all channel
MONITOR controls at minimum level.

When Post-GEQ IN level is +4dB, SPEAKER
OUT level is full power.

Input Channel Equalization

±15dB maximum boost or cut in each band

High: 12kHz shelving
Mid: 250Hz — 5kHz peaking
Low: 80Hz shelving

Turnover/Rolloff frequency of shelving: 3dB below

Ω

maximum variable level.

Input Channel HPF Switch

80Hz, 12dB/oct.

Graphic qualizer

±12dB maximum boost or cut in each of nine bands:
63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k Hz

CD Select Switch

CD A or B

Level Meters

2 Illuminated meter (0VU=175W/4Ω)

CH Peak Indicators

Red LED on each channel turns ON when post-EQ signal
reaches the level 3dB below clipping.

CH Signal Indicators

Green LED on each channel turns ON when post-EQ
signal reaches -10dB.

Phantom Power

+48V is supplied to electrically balanced inputs to power
condenser microphones via 6.8kΩ current limiting/
isolation resistors.

Digital Effect

15 program selection

Power Requirement

U.S & Canada: 120V, 60Hz
General model: 230V, 50Hz

Power Consumption

U.S & Canada: 600W, 750VA
General model: 600W

Dimensions (W x H x D)

12ch model: 684 x 240 x 628 mm
16ch model: 816 x 240 x 628 mm

Weight

12ch model: 34kg
16ch model: 39kg

Note: 0dB = 0.775Vrms.

Specifications and appearance subject to change without
notice.

15

Input Characteristics

Input Terminals PAD Load With Maximum

Gain Actual For Use Input Level Connectors

Trim

CH Input A, B 0 -60

Impedance

Nominal Sensitivity Nominal Before Clip on Mixer

50 — 600Ω Mics

-60dB (775µV) -60dB (775µV) -40dB (7.75mV) XLR 3-31 type

0 -16 4kΩ & -16dB (123mV) -16dB (123mV) +4dB (1.23V) and

20 -16 600Ω Lines +4dB (1.23V) +4dB (1.23V) +24dB (12.3V) Phone Jack (TRS)

EFFECT RETURN (1, 2) 10kΩ 600Ω Lines +4dB (1.23V) +4dB (1.23V) +20dB (7.75V) Phone Jack

CH INSERT IN 5kΩ 600Ω Lines 0dB (775mV) 0dB (775mV) +20dB (7.75V) Phone Jack (TRS)

CD IN 10kΩ 600Ω Lines -6dB (388mV) -6dB (388mV) +20dB (7.75V) RCA Pin Jack

TAPE IN 10kΩ 600Ω Lines -10dBV (316mV) -10dBV (316mV) +20dB (7.75V) RCA Pin Jack

LINE INSERT IN (Pre-GEQ) 10kΩ 600Ω Lines +4dB (1.23V) +4dB (1.23V) +20dB (7.75V) Phone Jack (TRS)

LINE INSERT IN (Post-GEQ) 10kΩ 600Ω Lines +4dB (1.23V) +4dB (1.23V) +20dB (7.75V) Phone Jack (TRS)

1

Sensitivity is the lowest level that can produce an output of +4dB (1.23V) or the nominal output level when the unit is set at

maximum gain. (All faders and level controls are at maximum position.)

2

CH INPUT phone jacks are balanced. (T=+, R=–, S=GND)

3

Phone jacks are unbalanced without CH INPUT B.

4

Insert phone jacks are unbalanced. (T=OUT, R=IN, S=GND)

5

0dB is referenced to 775mVrms and 0dBV is referenced to 1Vrms.

2

4

4

4

Output Characteristics

Output Terminals Source With Maximum

SPEAKER OUT 1, 2 (L, R) 0.08Ω 4Ω or 8Ω 350W/4Ω, 200W/8Ω — Phone Jack

LINE INSERT OUT (Pre-GEQ) 600Ω 10kΩ Lines +4dB (1.23V) +20dB (7.75V) Phone Jack (TRS)

LINE INSERT OUT (Post-GEQ) 600Ω 10kΩ Lines +4dB (1.23V) +20dB (7.75V) Phone Jack (TRS)

EFFECT SEND 1, 2 75Ω 600Ω Lines +4dB (1.23V) +20dB (7.75V) Phone Jack

MONITOR OUT A, B 75Ω 600Ω Lines +4dB (1.23V) +20dB (7.75V) Phone Jack

REC OUT L/R 600Ω 10kΩ Lines -10dBV (316mV) +10dBV (3.16V) RCA Pin Jack

CH INSERT OUT 600Ω 10kΩ Lines 0dB (775mV) +20dB (7.75V) Phone Jack (TRS)

PHONES (Headphone) OUT 100Ω 40Ω Phones 3mW 100mW

1

Phone jacks are unbalanced.

2

Insert phone jacks are unbalanced. (T=OUT, R=IN, S=GND)

3

0dB is referenced to 775mVrms and 0dBV is referenced to 1Vrms.

4

When SPEAKER OUT level is full power, the PHONES OUT level is 12mW.

Actual For Use Output Level Connectors

Impedance

Nominal Nominal Before Clip on Mixer

4

Stereo Phone Jack

2

2

2

16

Console Dimensions

537/12ch, 669/16ch

W: 684/12ch, 816/16ch

200

H: 240

220

156

39

20

373 90

Unit: mm

D: 628

17

BLOCK AND LEVEL DIAGRAMS

L

SPEAKER 1

PA

SPEAKER 2

L

R

SPEAKER 1

PA

R

SPEAKER 2

[Phones]

PHONES

AD

LPF

Pre-Emphasis

DSP

DA

Display

LPF

De-Emphasis

+40

SPEAKER OUT

DIGITAL EFFECT

+30

Phones

3mW @40ohms

-70

-60

-50

-40

-30

-20

-10

+10

+20

I/O +4dB

POST GEQ LPRE GEQ L

LINE INSERT

I/O +4dB

LINE INSERT

EFFECT

21RL

MONITOR

I/O +4dB

LINE INSERT

9 BAND STEREO GEQ

I/O +4dB

LINE INSERT

ST L

INVSUM

PAN

EFFECT 2

EFFECT 1

POST GEQ RPRE GEQ R

EQ

16k

8k

4k

2k

1k

500

250

125

63

MONITOR

9 BAND STEREO GEQ

ST R

SUM INV

L

PAD

-10dBV

REC OUT

R

PAD

REC OUT

MONITOR OUT

A

BA

MONITOR A

SUM

LEVEL

+4dB

BA

Keys CPU

B

MONITOR B

MONITOR

EFFECT SEND

+4dB

1

EFFECT SEND 1

SUM

SUM BA

2

BA

EFFECT SEND 2

SUM

LEVEL

DIGITAL

EFFECT

MONITOR

(EFFECT RETURN 2)(DIGITAL EFFECT)

POST GEQEFFECT SEND

REC OUT

POST GEQ

LINE INSERT I/O LINE INSERT I/O

MONITOR OUT

L,R

MONITOR

EFFECT 1,2

18

PEAK

(+48V)

OFF

PHANTOM

(PHANTOM)

ON

SIGNAL

A

INPUT

ON

3 BAND PEQ

80

HPF

HA

PAD

B

A

B

1-16

1-12

BALANCED

MID
MID

GAIN

HIGH

LOW

PAD

FREQ

20dB

A

I/O 0dB

CH INSERT

CD IN

B

L

R

L

A

CD IN

B

-6dB

TAPE IN

ON

TAPE IN

CD IN

R

-10dBV

TAPE IN

1L/

MONO

1R

+4dB

EFFECT RETURN

2L/

MONO

2R

R

L

EFFECT RETURN

PAD:ON

0 0

+10

GAIN:Min

-10

GAIN:Max

PAD:ON

-20

-30

-40

-50

-60

-70