Yamaha EM-300 User manual

YAMAHA
SOUND
REINFORCEMENT
MIXER
EM-300
OWNER'S MANUAL
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EM-300 PA MIXER
The YAMAHA EM-300 PM MIXER with its
twelve input channels, two output channels
(stereo) and built-in power amplifier is extreme¬
ly easy to use and operate. It is equipped with a
graphic equalizer, reverberation unit and moni¬
tor circuit which extend the mixer's application
range from ordinary public address (PA) to
business uses.
Please read through these instructions so that
you will know exactly how to use the EM-300
in accordance with the intended application.
CONTENTS
BEFORE OPERATION. 1
BLOCK DIAGRAM. 2
CONTROL PANEL OPERATION . 3
CONNECTION FIGURE. 5
BACK PANEL OPERATION. 6
INPUT/OUTPUT SPECIFICATIONS. 8
CHARACTERISTICS FIGURES. 9
CABLE CONNECTIONS. 9
OVERALL SPECIFICATIONS.10
BEFORE OPERATION
Check the following points before operating your mixer.
• Installation location
Wherever possible, avoid installing the mixer in a
location which is exposed to direct sunlight, or a
great deal of humidity, dust or vibration.
• Do not block the ventilation holes in the top, bottom
and back panels of the mixer since they are designed
to dissipate the heat which is generated internally.
• Connections
Make absolutely sure that you use the commercially
available power line voltage to power the mixer.
Refer to page 5 for the connections and then pro¬
ceed to connect properly. When performing the con¬
nections, make absolutely sure that the power switch
is set to OFF.
• Speaker impedance
The acceptable speaker load is from 8 to 16 ohms for
USA and Canadian models and from 4 to 16 for
general models. Do not connect a speaker system
with a total impedance of less than the minimum
above rating.
• Do not set the controls to the following positions.
INPUT LEVEL controls
—50 for all channels
Channel faders
Max. for all channels
LOW-EQ, HIGH-EQcontrols
Max. for all channels
GRAPHIC EQUALIZER Max.
Master faders
Max.
Although these positions are not the ones usually
used for normal use, bear in mind that if you inad¬
vertently set the controls to the positions given above,
the conditions governing the equipment connected to
the input connectors and the load speakers may result
in damage to the speakers.
• Maintenance
The color of the mixer panels may undergo change if
they are cleaned with a paint thinner or similar liquid.
Always use a soft dry cloth to wipe off any dirt on
the panels.
1

INPUT
LEVEL
SW

CONTROL PANEL OPERATIONS
O INPUT LEVEL controls
These controls are used to select the input levels of the
channels. They allow a five-step switching (+4/—20/—30/
—40/—50dB) of the channel input levels in accordance
with the equipment which is connected.
Setting the input levels properly is instrumental is pre¬
venting overdrive of the head amplifier, which is cause of
distortion in the sound, and in helping to create a clear
and natural sound.
The table below lists the general settings. Set the con¬
trols to the proper level in accordance with the intended
application.
General settings of input levels
INPUT LEVEL
control setting
Input source
MIC
-50
Low-level microphone
(dynamic type)
-40
High-level microphone
(condenser type)
INST
-30
Electrical, electronic musical
instruments
LINE
-20
Low-level line
(general audio equipment)
+ 4
High-level line
(professional equipment)
3

0 LOW-EQ controls
These are used to control the sound quality in the low
range of each channel. The low frequency of 100Hz can
be controlled across a range of ±15dB between the left¬
most and rightmost settings, and a flat response can be
yielded at the center (0) position.
© HIGH-EQ controls
These are used to control the sound quality in the high
range of each channel. The high frequency of 10kHz can
be controlled across a range of ±15dB between the left¬
most and rightmost settings, and a flat response can be
yielded at the center (0) position.
O MONITOR 2 PRE FADER & EQ controls
These are the MONITOR 2 channel controls and they
are used to control the signal level which is fed out from
the channel fader pre-stage and sent to the MON OUT 2
jacks. They are also used as holdback (stage monitor)
mixing controls for performers.
© MONITOR 1 (REV/ECHO) POST FADER & EQ controls
These are the MONITOR 1 channel controls and they
are used to control the signal level which is fed out from
the channel fader and equalizer post-stages and sent to
the reverberation circuit, and the MON OUT 1 and
ECHO SEND jacks.
These controls perform the following roles in accordance
with the intended application.
1. Channel controls for reverberation effect.
2. Channel controls for echo effect.
3. Mixing controls for holdback (stage monitor)
© PAN controls
These controls are used to distribute the input signals of
the channels to the left and right channels, and also to
position the sound images.
© Channels faders
These are used to set the mixing level of the channels
and to attain an overall balance in the volume.
0 AUX IN controls
These are used to control the AUX IN 1 and AUX IN 2
input levels.
© AUX PAN controls
These are used to distribute the AUX 1 and AUX 2
input signals to the left and right channels, and to posi¬
tion the sound images.
0 REVERB/ECHO control
This is used to control the overall output level of the
built-in reverberation unit. When an echo unit has been
connected to the ECHO RETURN input jack, the built-
in reverberation unit is cut off, and the overall output
level of the echo device is controlled.
<D MONITOR 1 master fader
This is used to control the overall level of the signals
which have been already controlled by the MONITOR 1
controls, and to feed the signals out at the MON OUT 1
and Echo send jacks.
(Reverb signals are not controled.)
© MONITOR 2 master fader
This is used to control the overall level of the signals
which have been already controlled by the MOMITOR 2
controls, and to feed the signals out at the MON OUT 2
jack.
© GRAPHIC EQUALIZER
These nine linear controls for each channel, left and
right, vary the frequency response across a ±12dB range
for the frequencies centered on 63Hz, 125Hz, 250Hz,
500Hz, 1kHz, 2kHz, 4kHz, 8kHz and 16kHz in accord¬
ance with the intended application or location, and they
thereby vary the sound quality of the whole system. For
instance, they can be used to control levels at frequency
ranges where howl is easily produced, and to control the
sound quality finely by emphasizing some of the fre¬
quency ranges.
© PROGRAM master faders
These are used to control the overall signals which have
been already mixed by the channel faders, and to set the
sound which is ultimately heard through the main
speakers.
© PROGRAM VU meters
These are used to monitor the output levels of the left
and right channels. An output of 42.5W/8f2 is indicated
when the pointers deflect to 0VU and likewise 85W/812
(full power) when the pointers deflect to +3VU.
© PHONES jack
This is the output jack for stereo headphones.
This allows the power amplifier output to be monitored
and the volume is controlled by the PROGRAM master
faders.
© MONITOR VU meter
These are used to monitor the output levels of MONI¬
TOR 1 and MONITOR 2.
4

CONNECTION FIGURE
FUSE:
Use 7A, 250V fuses. If it is
necessary to replace a blown
fuse, disconnect the AC plug
from the power socket and then
replace with a unit having the
same ratings. If the fuse should
blow during operation, it means
that there is a failure and that
you should get in touch with
your dealer
For holdback
Microphone
POWER SW:
This is the power switch which
accommodates reversed polari¬
ties with two ON positions that
help ta minimize hum in certain
instances.
USA & CANADIAN MODELS
A0112T (Self-Power Monitor)
0 MON OUT 1,
MON OUT 2
O INPUT
Connect this to the AC
power outlet
SPEAKERS
r~r~
r~
r~
7T~
( ( (
r-
-r~
MM
mi
iSS
■
') U U U U
© LINE OUT
GENERAL MODEL
Tape deck (recording)
Main speaker (L)
Delay unit (echo unit)
Tape deck (playback)
Main speaker (R)

BACK PANEL OPERATION
O INPUT
Both the LO-Z (low impedance) and Hl-Z (high imped¬
ance) INPUT jacks are unbalanced.
Connect low-impedance and high-impedance micro¬
phones, general electrical and electronic musical instru¬
ments and LINE inputs to the Hl-Z INPUT jacks.
Connect low-impedance microphones to the LO-Z
INPUT jacks.
It is not possible to use both the LO-Z and Hl-Z
INPUT jacks simultaneously for the same channel.
© SPEAKERS
Connect the main speakers to these jacks.
NOTES:
LOAD INPEDANCE
8 ~ 16S2 U.S.A & CANADIAN MODELS
4 ~ 16ft GENERAL MODEL
Do not connect a speaker system with a total impedance
of less than the minimum above rating.
© AUX IN
Connect the tape deck (playback) or another mixer for
increasing the number of channels to these jacks.
O LINE OUT
Use these jacks to feed out the recording output signals
or the signals produced when the mixer is being used as a
submixer in order to increase the number of channels.
© MON. OUT 1, MON. OUT 2
Use these jacks to connect the holdback (stage monitor)
speaker.
A power amplifier is required for both MON OUT 1
and MON OUT 2 jacks. Use a speaker with a built-in
power amplifier or use a separate power amplifier.
© ECHO RETURN, ECHO SEND
These are the input and output jacks for the echo unit.
(When the echo unit is connected, it is no longer possible
to use the built-in reverberation unit.) Use the MONI¬
TOR 1 (REV/ECHO) controls to control the echo effect
for each of the individual channels, and the MONITOR 1
master fader and REVERB/ECHO control to control the
overall effect.
• POWER AMP IN
These external input jacks may be used in various ways,
such as when using the built-in power amplifier indepen¬
dently (feeding input signals of another mixer), or when
amplifying PGM signals and monitor signals with a
separate power amplifier and the built-in power amplifier
respectively so as to increase power of PGM signals.
• MON. SUB IN
Connect another mixer to these jacks when you want
to increase the number of monitor channels.
6

INPUT/OUTPUT SPECIFICATION
• Input jacks
Connection
Actual Load
Impedance
For Use
W/Nominal
Sensitivity
(at max. gain)
Input level
Connector
Nominal Max. befor Clip
INPUTS (1 ~12 CH)
-50
-40
-30
-20
+ 4
Hi-Z 10X12
Lo-Z 60012
Hi-Z 3X12
Lo-Z 15012
—50dB (2.5mV)
—40dB (7.8mV)
—30dB (25mV)
—20dB (78mV)
+ 4dB (1.23V)
—50dB (2.5mV)
—40dB (7.8mV)
—30dB (25mV)
—20dB (78mV)
+ 4dB (1.23V)
—22dB (6.2mV)
—12dB (193mV)
- 2dB (616mV)
+ 8dB (1.93V)
+32dB (31V)
X LR-3-31 and
Phone Jack
AUX IN (1,2)
30K12
5X12 —20dB (78mV)
—20dB (78mV) Phone Jack
ECHO RETURN
30K12
—30dB (25mV)
—30dB (25mV) Phone Jack
GEQ IN (L, R)
iook!2
+ 4dB (1.23V)
+ 4dB (1.23V)
+18dB (6.2V)
Phone Jack
POWER AMP IN
(L, R)
30K12 5x12 + 4dB (1.23V)
Phone Jack
MON SUB IN (1, 2)
30K12
5K12 + 4dB (1.23V) + 4dB (1.23V) +24dB (12.3V)
Phone Jack
• Output jacks
Connection
mm
Output level
Connector
Max. befor Clip
SPEAKER OUT
(L, R)
0.06512
00 33
200W
MOW
Phone Jack
LINE OUT (L, R)
1X12
iok12
60012
+ 4dB (1.23V)
OdB (0.775V)
+ 18dB (6.2V)
+ 14dB (3.9V)
Phone Jack
GEQ OUT (L, R)
1X12
10K12
60012
+ 4dB (1.23V)
OdB (0.775V)
+18dB (6.2V)
+ 14dB (3.9V)
Phone Jack
390 £2
iok!2
60012
+ 4dB (1.23V)
OdB (0.775V)
+ 18dB (6.2V)
+ 14dB (3.9V)
Phone Jack
10012
iok12
—20dB (78mV)
- 6dB (0.39V)
Phone Jack
PHONES
15012
812
+ 2dB (0.96V)
Stereo Phone Jack
Note: All the inputs and outputs are unbalanced.
8

CHARACTERISTICS FIGURES
■ Frequency response
FREQUENCY(Hr)
■ Channel equalizer frequency response
CABLE CONNECTIONS
There are many types of connecting cables for PA record¬
ing. This allows a choice in accordance with the intended
application. Such cables are sold on the market but they
are costly and there is no great variety. When using the
cables, the established procedure is either to make them
■ Graphic equalizer frequency response
FREQUENCY(Hi)
■ Output versus distortion
yourself, bearing in mind the required length of the
cables, or order them from a specialist manufacturer.
The types of connecting cables required for general
sound systems are indicated below.
Unbalanced type: Pin plug
Unbalanced type: Standard phono plug <ni
Unbalanced type: Pin plug
White (red)/hot (+)
Black/cold (—)
Shield/ground
White (black)/hot (+)
Shield/ground _
White (black)/hot (+)
n>
Standard phono plug
Shield/ground
m>
9