Yamaha EM-300B User manual

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How to use
this manual
Yamaha EM-Mixers are equipped with features
and capabilities unique among mixers in their
price range. To take the best advantage of your
mixer, we recommend careful reading of this
Instruction Manual... even if you already have
a good general understanding of mixers. The
setups on the following pages are meant only
as guidelines. We have attempted to cover many
applications. It would be impossible to cover
all conceivable setups, which are infinite as your
own imagination.
Index
SECTION ONE
Brief Operating Instructions
Functional descriptions of each control, each
meter, and the input/output/accessory jacks.
Also, mixer specifications. a
SECTION TWO
Introduction
A general description of the EM-Mixers, their
features and capabilities, and how to use them.
SECTION THREE
Detailed Instructions
Detailed descriptions of operating procedures,
contro! functions, jack functions, and
connections to speakers and accessory
equipment.
SECTION FOUR
Applications
Detailed discussion of several applications
from sound reinforcement (PA) to recording.
SECTION FIVE
Balanced Input Transformer Modules |
Installation instructions for balanced input
transformer modules or Yamaha EM-150IIB,
EM-200B and EM-300B.
Block Diagrams
Troubleshooting
Warranty and Service
The EM-Mixer Warranty, and what to do if
you should encounter any problems. Also, a
procedure to verify proper performance.
10
14
19

SECTION
ONE
=
Brief
Operating
Instructions
NOTE: Be sure the AC POWER switch is turned OFF
when making all signal and speaker connections.
nm O Ou»
"nmm О our»
FRONT PANEL
A.
Pan This knob feeds the input channel signal to a
pair of mix buses to create the stereo program mix
(Left and Right program buses}. The stereo program
bus then feeds the Speaker, Line, and Headphone
outputs via the Master Program faders.
Monitor 1 Send (Rev/Echo) This knob feeds the
input sianal to the mix bus which, in turn, feeds the
Monitor 1 output. The same bus also drives the
built-in reverb or external reverb/echo (effects)
units; the send is post-EQ and fader.
Monitor 2 Send This knob feeds a pre- EO and pre-
fader signal to a second monitor mix bus which,
in turn, feeds the Monitor 2 output.
. High and Low EQ Controls These continuously
adjustable knobs allow for +15 dB of bass and
treble equalization on each input channel. Response
is "flat" at center position. |
F.
c AC
Input Level Selector Switch This switch adjusts the
input channel's sensitivity for best results with
different input sources. For Models EM-10011 and
EM-150!1B this switch is а 3-position slide switch
(Line/Instr/Mic). On the EM-200B and EM-300B,
the level switch is a b-position rotary knob.
Channel Fader On Models ЕМ-10011 and EM-15011B
rotary faders set the mix level of each channel.
Models EM-200B and EM-300B have smooth linear
slide faders that also provide a good visual indication
of the mix-level for each channel.
. VU Meters Two meters indicate the average speaker
power output level. On the EM-300B, an additional
set of meters indicates the average output level of
the two Monitor mix buses. The meters are
illuminated when AC POWER is ON.

Кы
ЕМ-ЗООВ
Ou»
Н. Graphic Equalizer (Except on ЕМ-10011) Two banks
of linear slide controls independently vary the
frequency response of the Left and Right Program
outputs. There are seven G-EQ controls per channel
on the EM-15011B and nine controls per channel on
the EM-200B and EM-300B. Center detents mark the
"flat" position (no EO effect) for each control.
Aux Pan (Models EM-200B and EM-300B only) These
controls
position
the
Aux
1
and
Aux
2
Input
signals
Left-to-Right
on
the
stereo
program
bus.
|
Master
Reverb/Echo
This
control
sets
the
level
at
which
the
returning
Reverb/Echo
signal
(or
the
reverb
from
the
built-in
spring)
is
mixed
into
the
stereo
program
bus.
(The
mono
signal
is
applied
equally
to
the
Left
and
Right
program
mix
buses
and
is
thus
a
“center”
effects
return.)
If
the
Echo
Return
jack
is
used-as
an
auxiliary
monaural
line
input,
Master
Reverb/Echo
adjusts
the,
level
of
the
“auxiliary” input source.
à
vu
г@
tof
af if
|
=
N.
— I
CAM
M N
Headphones Jack This TRS (tip-ring-sleeve) stereo
phone jack can be used with any stereo headphones.
It carries the same signal as the Speaker outputs, but
at lower level, The headphone volume is controlled
by the Master Program faders.
Auxiliary Volume These controls set the level of any
program fed to the mixer via the Left and Right Aux
Input jacks. Following these controls, the aux inputs
are also affected by the Master Program faders.
Master Program Faders (Left and Right) These
controls adjust the lével of corresponding Left and
Right program mixing buses which simultaneously
feed the Speaker, Graphic ЕО, Line, and Headphone
outputs," The Master Program faders DO NOT affect
the mixer's Monitor or Echo outputs.
Master Monitor Faders (1 & 2) These controls adjust
the overall level of the Monitor Outputs..
` *NOTE: In this manual, we use the terms “stereo program bus”
and "Left and Right program mixing buses" interchangeably.

EM-100II Rear Panel
EM-150IIB Rear Panel
REAR PANEL
A.
Power Switch This toggle switch has two "ON"
positions that reverse the AC power line polarity.
Choose the ON position with least hum.
Low Impedance Channel Inputs These low-
impedance XLR connectors accept inputs such as
professional low-impedance microphones and
electronic musical instruments having low impedance
outputs, The XLR inputs are unbalanced," but may
be converted to balanced (floating) inputs by the
addition of easy-to-install optional "Balancing
Transformer Modules" (not available for the
EM-10011). :
High Impedance Channel Inputs These TS (tip-sleeve)
phone jacks are designed for high or medium
impedance microphones, low-level instruments
(like electric guitars or instruments with pick-ups),
or high level instruments (such as keyboards).
. AC Power Cord This 3-wire cord is for connection
to any 110-120 V AC, 50 or 60 Hz grounded outlet.
*NOTE: The terms balanced and unbalanced, as used in this
manual, have nothing to do with stereo perspective or signal
level. Balanced refers to a 2-conductor shielded cable in which
neither signal-carrying wire is grounded. '
Fuse Holders Always replace the fuses with the same
| size and type (AGC or equivalent).
. Speaker Output Jacks These standard phone jacks are
Left and Right speaker-level outputs from the built-
in stereo power amplifier. There are two paralleled
Jacks per channel; this internal “Y” adapter is pro-
vided as a convenience to power two separate sets of
speakers simultaneously. (Refer to page 11).
Normally, the Program mixing buses feed the
speaker outputs, and both jacks from each power
amp channel are simultaneously controlled by the
corresponding Master Program faders. The Power
Amp In jacks do permit other signal sources to feed
the speaker outputs (in lieu of the stereo program
mix), such as the monitor mix buses or even an
external mixer or keyboard.
. Power Amp Inputs These jacks permit the con-
nection of any line-level low: or high impedance
signal directly to the mixer's power amplifier,
replacing the internal signal flow from the stereo pro-
gram mix. The jacks are useful for inserting a com-
pressor/limiter ahead of the power amp.

EM-200B Rear Panel
E P
rm (акт Qt, CH ae orar сөз Qua Gee ент
Fes PER HERR "n en AT pH
logan
ре f E 1 ы j 4 е, 2
EM-300B Rear Panel
CAUTION: NEVER CONNECT THE MIXER'S
SPEAKER OUTPUTS, OR ANY OTHER SPEAKER-
LEVEL SIGNAL, TO THE POWER AMP OR G-EQ
INPUTS.
H.
Graphic ЕС Outputs (Not on ЕМ-10011) These jacks
feed the signal from the two Graphic Equalizers to -
any line-level high impedance input, for instance an
additional external power amplifier or a compressor/
limiter. The signals are also applied, internally, to
the mixer's stereo power amplifier, regardless. of
whether these jacks are in use.
Graphic ЕО Input Jacks (Not on ЕМ-10011) These
standard phone jacks connect a line-level, high-
impedance source into the Left and Right Graphic
Equalizers, replacing the normal, internal signal
flow from the Mixer's line outputs to the Graphic
EO inputs.
are high impedance line-level outputs carrying the
respective Monitor 1 & 2 mixes. They are con-
trolled by the Master Monitor faders (the Master
Program faders have no effect here).
(8 o o o o o o9€0
. Echo Return Jack This standard phone jack accepts
the output of an external echo device or any other
high-impedance, line-level source. Return level is
controlled by the Master Reverb/Echo control. Use
of this jack disconnects the internal Reverb spring.
Note: If Echo Send is patched directly into Echo
return, the Monitor 1 bus may be used for a group
submix (positioned at stereo center); the subgroup
level is then set by Master Reverb/Echo.
. Echo Send Jack This standard phone jack feeds the
mixed signal from all channels' Monitor 1 controls to
an external echo, reverb, or digital delay device. Not
affected by the Master Reverb/Echo control, Echo
Send can be used as a mono auxiliary low-level line
output (—20 dB) when the Monitor 1 output level
(+4 dB) is too high.
. Monitor Sub Input Jacks These high-impedance
standard phone jacks apply line-level, low or high
J. Line Output Jacks These standard phone jacks are impedance inputs directly to the Monitor 1 & 2
high-impedance, line-level outputs carrying the Left mix buses. The Monitor Sub Inputs are subject to
and
Right
program
mix.
|
the
Master
Monitor
faders.
K. Monitor Output Jacks These standard phone jacks
. Auxiliary Input Jacks These Left and Right standard
phone
jacks
apply
line-level,
high
impedance
inputs
to
the
Left
and
Right
Program
Mixing
buses.
Incom-
ing
signal
level
is
controlled
by
the
Aux
Volume
controls
and
the
Master
Program
faders.

GENERAL SPECIFICATIONS -
[MODEL _ — [| . м — | в |
- CHANNEL 1 to 6 (HZ 8
CON BUX IN( RIS 0-2), AUX IN (L&R), LO-Z), AUX IN (182),
MOR a De Sue CRF). | MONITOR SUB IN (1&2), | MONITOR SUB IN (182).
MONITOR SUB IN (12h | ECHO RETURN, GRAPHIC | ECHO RETURN, GRAPHIC
AMP IN (LRRD EQ IN (L&R), POWER AMP | EQ IN (L& R}, POWER AMP
| IN (L&R). IN (L&R).
VOLUME, INPUT LEVEL (-50/-85/-20 dB* sensitivity | FADER, INPUT LEVEL (—50/—40/—30/—20/+4 dB*
selector
switch),
HIGH-EQ,
LOW-EQ,
MONITOR
1
sensitivity
selector
switch),
HIGH-EQ,
LOW-EQ,
MONITOR
1
(REV/ECHO), MONITOR 2, PAN (REV/ECHO), MONITOR 2, PAN
Program (L & В}, Monitor (1 & 2). б
EM-200B EM-300B
CHANNEL 1 to 8(HI-Z &
Like EM-200B, but 12 channel
NUMBER OF INPUTS inputs
INPUT CHANNEL
CONTROLS
SPEAKERS (L&RX2),
MONITOR
OUT
(1&2),
ECHO
SPEAKERS
(L&RX2),
MONITOR
OUT
(1&2),
ECHO
SEND,
LINE
OUT
(L&R),
SEND, LINE OUT (L&R),
GRAPHIC EQ OUT (L& R), PHONES (stereo).
PHONES (stereo). (La R) (stereo)
PROGRAM
(L&R),
MONITOR
(1
&2),
REVERB/ECHO,
PROGRAM
faders
(L&R),
MONITOR
faders
(1
&2),
MASTER
CONTROLS
AUX
IN
(L&R).
REVERB/ECHO,
AUX
IN
(1&2),
AUX
PAN
(1&2).
Built-in Accutronics spring-type reverberation unit;
ECHO
AND
REVERB
provisions
for
connection
of
external
reverb,
echo
delay
or
other
effects
devices.
80 dB, CHANNEL IN to 82 dB, CHANNEL IN to
SPEAKER OUT, SPEAKER OUT;
54 dB, CHANNEL IN to 54 dB, CHANNEL IN to
NUMBER OF OUTPUTS
78 dB, CHANNEL IN to
SPEAKER OUT;
54
dB,
CHANNEL
IN
to
MONITOR
OUT;
MONITOR
OUT:
MONITOR
OUT:
30
dB,
CHAN
N
EL
IN
to
30
dB,
CHANN
EL
IN
to
30
dB,
CHANNEL
IN
to
ECHO
SEND;
MAXIMUM
VOLTAGE
GAIN
ECHO
SEND;
54
dB,
CHANNEL
IN
to
'
54
dB,
CHANNEL
IN
to
54
dB,
CHANNEL
IN
to
-
LINE
OUT;
LINE
OUT;
LINE
OUT;
54
dB,
CHANNEL
IN
to
54
dB,
CHANNEL
IN
to
48
dB,
AUX
IN
to
G-EQ
OUT:
G-EQ
OUT;
50 dB, AUX IN to 52 dB, AUX IN to
SPEAKER OUT. SPEAKER OUT.
Q, +15 dB max. at 100Hz; HIGH-EQ +15 dB max. at 10 kHz; shelving characteristic.
+12 dB max. at 60 Hz, 150 Hz,
400 Hz, 1 kHz, 2.5 kHz,
5 kHz & 10 kHz, "flat" at
center detents.
CROSSTALK
—55
dB
@
1
kHz,
adjacent
inputs
or
input-to-output.
AMPLIFIER
TYPE
All
solid
state,
discrete
and
integrated
circuit
(1C).
POWER
REQUIREMENTS
[120
V
AC,
50
or
GO
Н2
3-wire
|
Like
EM-1001l,
but
170
watts.
|
Like
ЕМ-1001,
but
290
watts.
|
Like
ЕМ-1001,
but
400
watts.
One
3
ampere,
AGC
One
7
ampere,
AGC
Two
5
ampere,
AGC
type,
in
|
Two
7
ampere,
AGC
type,
in
AC
MAINS
FUSE(S)
type
fuse.
`
parallel
configuration.
parallel
configuration.
Output
power
delivered
to
speakers
decreases
as
load
impedance
falls
below
2.5
ohms;
relay
mutes
input
to
power
OUTPUT
PROTECTION
amplifier
to
protect
speakers
from
Turn-ON
or
Turn-OFF
transients.
2
illuminated
Speaker
Out
Like
ЕМ-1001,
but
O
VU
—70
W.
INDICATOR
(S)
SU
motors
0
VO
DE
watts
Like
EM-100ll,
but
OVU=38
W|Like
EM-100lI,
but
ovU=43
w]
2
tluminated
Monitor
VU
PHYSICAL
DIMENSIONS
WXHXD:
SPEAKER OUT.
LOW-E
CHANNEL EQUALIZATION
GRAPHIC EQUALIZATION
{Speaker Outputs)
+12 dB max. at 63 Hz, 125 Hz, 250 Hz, 500 Hz,
1 kHz, 2 kHz, 4 KHz, 8 kHz & 16 kHz; "flat" at center detents.
= + *1
into
8
ohms.
meters,
Cine
dB
into
62.1х22.9х63.1ст
(22х8%х20") (2412 xX 9X 2474")
Weight:
24.5
kg
(54
Ibs.)
28
kg
(61.7
Ibs.)
FINISH
.
|
Black,
with
protective
aluminum
trim.
WARRANTY
Limited,
one
(1)
year
on
parts
&
labor,
SPEAKER OUTPUT PERFORMANCE
POWER OUTPUT/CHANNEL
(Measured at 0.5% THD point;
continuous RMS voltage
squared/load; both channels
driven.)
78.7 X22.9X63.1cm
(31X9X 24%")
35 kg (77.2 Ibs.)
56X17.1X 47 cm
(22 X6% х 18/2")
16 kg (35.3 Ibs.)
56X21.4X 50.8cm
50
watts
into
8
ohms
75
watts
into
8
ohms
85
watts
into
8
ohms
140
watts
into
8
ohms
1
kHz;
45
watts
into
8
ohms
|@
1
kHz;
65
watts
into
8
ohms|
1
kHz;
75
watts
into
8
ohms|
1
kHz;
120
watts
into
8
ohms
@
20
Hz
to
20
kHz.
@
20
Hz
to
20
kHz.
(
20
Hz
to
20
kHz.
@
20
Hz
to
20
kHz.
+1 dB, 30 Hz to 15 kHz,
+1 dB, —3 dB, 20 Hz to
20 kHz, at 25 watts output
into 8 ohms.
Less
than
0.2%,
@
1
kHz
|
|
(45
W/8
ohms);
Like
ЕМ-1001,
but
measured
|
Like
ЕМ-1001
but
measured
|
Like
ЕМ-1001,
but
measured
Less
than
0.596,
20
Hz
to
at
65
watts
output.
at
75
watts
output.
at
120
watts
output.
20 kHz (45 W/8 ohms).
+1 dB, 20 Hz to 15 kHz,
+1 dB, -3.dB, 20 Hz to
30 kHz, at 40 watts output
into 8 ohms.
Like EM-200B, but measured
at 80 watts output.
Like EM-100N, but measured
FREQUENCY RESPONSE at 35 watts output.
TOTAL HARMONIC
DISTORTION (THD)
INTERMODULATION
Less
than
2551
0
Hza
7
KHz
Like
ЕМ-1001,
but
measured
|
Like
ЕМ-1001,
but
measured
|
Like
ЕМ-1001,
but
measured
DISTORTION
(iM)
mixe
А
ohms)
atts
Into
at
35
watts
output.
at
40
watts
output.
at
60
watts
output.
—40
dB*
зв
dB*
—37
dB*
POWER
AM
SEs
(MASTER
VOLUME
max.)
|
(MASTER
VOLUME
max.)
(MASTER
FADER
max.)
(ONE
INPUT
VOLUME
max.)
(ONE
INPUT
VOLUME
max.)
(ONE
INPUT
FADER
max.)
OUTPUT
NOISE**
(MASTER
VOLUME
max.)
(ALL
INPUT
VOLUME
min.)
(MASTER
FADER
max.)
(ALL
INPUT
FADER
min.)
EQUIVALENT
INPUT
|
NOISE**
(UNBALANCED
|
—118
dBm.
VERSION)
EQUIVALENT INPUT
NOISE**
(BALANCED
—118
dBm.
VERSION)
.
MONITOR OUTPUT PERFORMANCE |
FREQUENCY
RESPONSE
+1
dB,
30 Hz
to
15
kHz;
+1
dB,
~3
dB.
20
Hz
to
30
kHz.
+1
dB,
20
Hz
to
15
kHz;
+1
dB,
—3
dB,
20
Hz
to
30
kHz.
|
TOR
TON
(HIS)
Less
than
0.2%
8
1
kHz:
Less than
0.5%,
20
Hz
to
20
kHz,
(at
+10
dB*
into
10
kohms).
INTERMODULATION
T
DISTORTION
(IM)
EQUIVALENT
INPUT
NOISE**
OUTPUT NOISE**
*0 dB is referenced to 0.775 V RMS. |
О
**
Measured
with
a
6
dB/octave
filter
&
12.47
kHz;
equivalent
to
а
20
kHz
filter
with
infinite
dB/octave
attenuation.
6
Less
than
0.5%,
70
Hz
& 7
kHz
mixed
4:1
(at
+10
dB*
into
10
kohms).
—118 dBm. _
Master
volume
at
maximum
&
all
Input
volume
controls
at
minimum;
d
one
Input
volume
control
at
maximum.
—71 dB*,
—64 dB* Master volume an

Connector
in Mixer**
Actual
Load
For
Use
w/Nominal
Input
Level
Impedance
|
_Nominat
|]
Max.
Before
Clip
HI-Z LO-Z HZ
CHANNEL
1
kohm
20
kohms
150—600
ohms
3
k—
10
kohms
—50
dB
(2.5
mV)
—22
dB
(6.2
mV)
INPUTS
1
kohm
20
kohms
150—600
ohms
3
k—10
kohms
—40
dB
(7.8
mV)
—12
ав
(193
mV)
XLR-3-31
(1—6,
8
or
12)
1
Корт
20
kohms
150—600
ohms
3
k—
10
kohms
~35
dB
(14
mV)
—7
dB
(346
mV)
and
Phone
(UNBALANCED
1kohm
20
kohms
150—600
ohms
3
k—
10
kohms
—30
dB
(25
mV)
—2
dB
(616
mV)
jack
(XLR
is
VERSION)
1
Копт
20
kohms
150—600
ohms
3
k—
10
kohms
—20
dB
(78
mV)
+8
dB
(1.93
V)
unbalanced)
1
20
kohms
150—600
ohms
3
k—10
kohms
+4
dB
(1.23
V)
+32
dB
(31
V)
HI-Z LO-Z НІ-2
CHANNEL
1
kohm
20
kohms
50-600
ohms
3
k—10
kohms
—50
ав
(2.5
mV)
—22
dB
(6.2
mV)
|
INPUTS
1
kohm
20
kohms
50—600
ohms
3
k—10
kohms
—40
dB
(7.8
mV)
—12
dB
(193
mV)
XLR-3-31
(BALANCED
1
kohm
20
kohms
50—600
chms
3
k—10
kohms
—35
dB
(14
mV)
—
7
dB(346
mV)
and
Phone
OPTION
ON
1
kohm
20
kohms
50—600
ohms
3
k—10
kohms
—30
dB
(25
mV)
—2
dB
(616
mV)
jack
(XLR
is
EM-150118,
EM-
1
kohm
20
kohms
50—600
ohms
3
k—
10
kohms
—20
dB
(78
mV)
+8
dB
(1.93
V)
balanced)
200B,
EM-300B)
+4
20
kohms
хх»
3
k—10
kohms
+4
dB
(1.23
V)
+32
dB
(31
V)
ECHO
RETURN
|
юм
|
soms
—
|
-3odBgsmv)
|
Phone
ac
14
dB[
28V)
*EM-100H
and
EM-1501IB
offer
only
these
switch
settings;
EM-200B
and
EM-300B
offer
all
settings
except
“—
35".
**All
connections
are
unbalanced;
XLR
CHANNEL
IN
connectors
may
be
balanced
(floated)
with
optional
plug-in
transformer
modules
(except
EM-1001I).
***Do
not
use
LO-Z
XLR
Input
when
Input
Level
Switch
is
in
+4
position
and
transformer
option
is
installed;
HI-Z
phone
jack
input
may
be
used.
****
Not
provided
on
EM-1001I.
OUTPUT CHARACTERISTICS
——— E)
in Mixer**
Actual Source For Use w/Nominal
Impedance Max. Before Clip
SPEAKER
OUT
(LR)
8
ohms*
W/ch
TOTAL
0.13
ohms
8
ohms
N/A
50W
100W
|
.
75W
150W
Phone
jack
0.065
ohms
8
ohms
N/A
85W
170W
140
W
280
W
600
ohms
О
dB
(775
mV)
390
ohms
10
kohms
+4
dB
(1.23
V)
+18
dB
(6.2
V).
|.
|
Phone
jack
390 ohms 600 ohms О dB (775 mV) +14 dB (3.9 V)
EM-300B
10
kohms
+4
dB
(1.23
V)
+18
dB
(6.2
V)
MONITOR
OUT
(LR)
600
ohms
О
dB(775
mV)
+14
dB
(39
V)
|
MONTOROUTEA)
|
MN
10
kohms
+4
dB
(1.23
V)
+18
dB
(6:2
V)
Phone
jack
GRAPHIC
EQ
OUT (LR)
|
|
600
ohms
0
dB
(775
mV)
+14
dB
(3,9
V)
EM-150IIB
390
ohms
10
kohms
+4
dB
(1.23
V)
+18
dB
(6.2
V)
|
Phone
jack
EM-200B
390
ohms
600
ohms
O
dB
(775
mV)
+14
dB
(39
V)
EM-300B
10
kohms
+4
dB
(1.23
V)
+18
dB
(6.2
V)
ECHO
SEND
72048
(78
nV
T6
dB
030)
ЕМ-1001
ЕМ-1501В
EM-200B
EM-300B
LINE OUT (L,R)
EM-1001I
EM-150IIB
EM-200B
+14 dB (3.9 V)
PHONES
ЕМ-1001
130
ohms
8
ohms
.
N/A
О
dB
(0.775
V)
ЕМ-1501В
EM-300B
150
ohms
+2
dB
(0.98
V)
EM-200B.
*Power
output
is
measured
at
1
kHz
into
specified
load,
both
channels
driven.
The
watts/channel
figure
is
the
output
of
one
channel,
whereas
the
total figure is the sum of both channels' power output.
**All connections are unbalanced.
Phone jack
(stereo)
Specifications subject to change without notice.

SECTION Two |
Introduction
The
Yamaha
EM-1001I!,
EM-15011B,
EM-200B
and
inputs
and
outputs;
and
graphic
program
equalization.
EM-300B
are
multi-input,
stereo
output
mixers
with
Patchable
inputs
and
outputs
to
each
major
function
built-in
power
amplifiers
and
Accutronics
reverb
units.
provide
the
flexibility
of
separate
components
with
They
are
compact
and
functional
in
design,
with
many
the
convenience
of
one
compact
unit.
Complete
tonal
full-performance
features:
switchable
sensitivity,
two-
control,
substantial
output
power,
tremendous
band
equalization,
pan
pot
and
dual
monitor
sends
on
versatility
and
proven
Yamaha
reliability
make
the
a
every
input;
separate
master
level
controls;
auxiliary
EM-Mixers
exceptionally
good
values.
EM-300B
EM-150IIB
EM-100II
EM-200B

Inputs `
The EM-10011 and EM-15011B each have 6 input
channels, while the EM-200B has 8, and the EM-300B
has 12 input channels. Each input channel includes the
following controls: Fader, Hi-EQ, Low-EQ, Monitor 1
(which usually serves as the Reverb/Echo Send control),
Monitor 2, stereo Pan, and an Input Level switch,
Auxiliary Inputs
АП EM-Mixers have one stereo auxiliary input circuit
(Aux In) plus three mono auxiliary inputs (Monitor
Sub In 1, Monitor Sub In 2, and Echo Return).
Monitor & Speaker Outputs
The Monitor and Speaker Outputs are controlled by
separate Master faders that independently adjust the
level from the program and monitor mixing buses. The
Speaker Output level is displayed by two VU Meters.
(Monitor meters are also provided on the EM-300B.)
Linking Mixers & Recording
Two or more mixers may be linked or “chained”
together to increase the total input capacity. For this
purpose, the Line Out jacks of one mixer would be
connected to the Aux In jacks of the next mixer.
Alternately, the Line Out jacks may be used to feed
a stereo tape recorder.
The Echo Send jack may also be used to feed a mono
tape recorder, or other external device; this will not
affect the function of the internal spring reverb.
Likewise, the Monitor Out jacks may be used to feed
tape recorders, remote lines or other high-impedance
devices. Remember that Monitor 2 does not reflect the
program mix. It is fed "pre-fader and pre-EQ", so it can
be mixed for its own unique channel-to-channel balance
without regard to the stereo program mix.
Graphic Equalizers (Not on EM- 10011)
The EM-Mixers' Graphic Equalizers are a unique tool,
both for reducing acoustic feedback and for imparting
limitless tonal characteristics to the Speaker outputs.
Seven or nine linear controls “outline” any frequency
response curve as it is created (hence, the term
graphic"). There are separate equalizers for each
(Left and Right) program channel. The Graphic
Equalizers do not normally affect the Monitor outputs,
so corrections made for the “house” sound will not
color the sound on stage. The Headphone jack does
carry the graphically equalized program, as do the
MoocooucocoR
|
|
|
|
|
|
|
| |
|
8
8
7
апа
9
Вапа
Graphic
Equalizers
G-EQ Output jacks, which сап be used to drive external
amplifiers. Alternately, the Monitor Outputs can be
patched into the С-ЕО Inputs, while the Line Outputs
are fed to an external amplifier/speaker system.
Power Supply
The power supply is grounded and has convenient
rear panel fusing for complete safety. The polarity-
reversing power switch has two “ON” positions that
help to minimize hum in certain instances. (Illuminated
VU meters indicate that Power is “ON’’.)
Flexibility
The many inputs and outputs on EM-Mixers simplify
set-up, increase their inherent flexibility, and safeguard
against possible malfunctions by serving as alternate
signal paths. If you're not sure whether a particular input
or output is appropriate, try it, with this one warning:
CAUTION: NEVER PLUG THE SPEAKER OUTPUT
INTO ANYTHING BUT A SPEAKER LOAD OR A
DIRECT BOX MADE FOR HIGH POWER LEVELS,
AND NEVER PATCH AN OUTPUT DIRECTLY BACK
TO A CHANNEL INPUT UNLESS DIRECTED TO DO
SO BY THIS MANUAL.
This simple precaution will protect your Mixers and
related equipment — failure to observe this caution may
void the Mixer Warranty.

SECTION THREE .
Detailed Instructions
The photos and callouts in Section | may serve as a
useful reference while you read the following instructions.
It also may be helpful to study the specifications,
especially when considering how to use your mixer with
an accessory device,
INPUT CHANNELS
Each channel has two input jacks. The standard phone ,
jacks are intended for use with high impedance (Hi-Z) or
low impedance (Low-Z) sources, while the 3-pin XLR
connectors are strictly for low impedance inputs.
Input jacks
NOTE: Most Low-Z microphones (nominal 150 ohms)
are designed to work into loads of approximately
900-1500 ohms. These load values are provided by the
Low-Z XLR connectors, but not by the phone jacks.
Connecting your Low-Z mics to the wrong input
(High-Z) can alter the microphone's frequency response.
Conversely, connecting a High-Z mic to a Low-Z input
can overload the mic, lower the level and adversely
affect the mic's frequency and transient response.
Input Level Switch
On the Models ЕМ-10011 and EM-15011B, this is a
3-position slide switch, labeled MIC/INST/LINE.
LINE INST MIC
un
ЕМ-10011 & EM-15011B input level switch
In MIC position, the channel input sensitivity
(—50 dB) is optimum for a high-impedance microphone.
The cables used with high-impedance (High-Z) micro-
phones should be shielded, and no longer than 25 feet.
If your application requires longer cables, we suggest
the use of the optional Transformer Balancing
Modules (not available for ЕМ-10011) and low impedance
microphones. Medium-impedance microphones, including
many electret condenser microphones, can be connected
directly to the Mixer without an auxiliary transformer,
provided that the mic output level is sufficiently high.
In INST position, the channel's input sensitivity
(—35 dB) is optimum for non-amplified instruments
such as electric guitars or other instruments equipped
with electro-magnetic pickups.
in LINE position, the channel’ $ sensitivity (—20 dB)
is optimum for “direct” or “preamp” outputs from
amplified instruments like a synthesizer or electronic
piano.
Input Level Switch -
On the Models EM-200B and EM-300B, this is a
5-position rotary knob labeled for nominal input ,
sensitivities of —50, —40, —30, —20, and +4 dB. The
10
EM-200B & EM-300B input level switch
—50 dB setting is commonly used with low output
dynamic microphones, —40 dB with medium output
condenser microphones, —20 dB with electric instru-
ments (preamplified) and low level (creative audio or
hi-fi) line sources, and *4 dB with high level line sources
(such as most professional equipment line outputs).
NOTE: The +4 position may not be used when the
optional Transformer Balancing Module is installed.
Set the Input Level switch to correspond to the type
of device that is plugged into the corresponding
Channel Input jack. Here is one suggested procedure:
1. Connect all input sources to their respective
channels. Plug in and wear your headphones to hear the
program mix. DO NOT CONNECT any speakers yet. |
2. Set all channel faders at zero (minimum). Set each
channel Pan control all the way to the Left, and raise
the Left Master Program fader to #9. |
3. Start with the Input Level switch in the least
sensitive position ("Line" ог +4 dB). Bring the channel
fader up to #7. 1f necessary, adjust the Input Level
switch for greater sensitivity, one “click” at a time,
until the input is clearly audible. The Left VU meter
should peak around “0 dB”. If the meter consistently
shoots past “0 dB”, or if the signal sounds distorted
in your headphones, the Input Level switch is set for
too much sensitivity (too low a dB #}; decrease the
input sensitivity (higher dB # on the Input Level switch)
until the levels are correct.
4. Repeat the procedure for each input channel, until
all channels are set for proper input sensitivity. Turn the
Mixer Power OFF, and connect your speakers and |
outputs. Set both Master Program faders to about #7 |
and turn the mixer power ON again. You are now ready
to adjust each channel fader, EO, and stereo assignment |
(Рап). |
. CAUTION: DO NOT CONNECT THE SPEAKER OUT-
PUT OF ANY AMPLIFIER TO THEMIXER UNLESS
A SUITABLE HIGH-LEVEL ATTENUATION PAD OR
"DIRECT BOX" FIRST LOWERS THE LEVEL. |
NOTE: Always turn Master faders (Program and Monitor)
all the way DOWN before turning the AC Power ON.
The channel fader adjusts the level applied to the
stereo program mix bus from whatever source is
connected to the channel's input jack. This allows you
to set precisely the level for various mics and/or
instruments, thereby achieving just the desired mix
(blend) of these sources.
The Low-EQ control adjusts the channel's frequency
response through the low-frequency range. The control

has no effect ("flat response") when centered. Low-EQ
boost (clockwise rotation) gives more "'fullness"' to
vocals, guitars, etc., and more of a mellow character to
horns and woodwinds. Low-EQ cut (counterclockwise
rotation) removes boominess, avoids some of the
excessive
energy
from
drums,
and
reduces
hum,
rumble,
and buzz. The High-EQ control adjusts the channel's
frequency response through the high-frequency range.
High-EQ boost (clockwise rotation) gives more "edge"
or “bite” to string instruments, more "presence" to
vocals, and more “attack” to percussive instruments.
High-EQ cut (counterclockwise rotation) removes —
some of the breath sound from wind instruments,
reduces guitar-string fingering sounds, lessens hiss, and
avoids sibilant (lispy) vocal sounds. High-EQ cut also
helps to make a performer sound farther away,
particularly if reverb is added. Low and/or Hi-EQ cut
can be helpful in avoiding feedback, too.
The Monitor controls determine the proportion of
channel output that feeds each Monitor mix bus.
Monitor 1 feeds the bus which drives the Echo/Reverb
effects (internal spring or external unit). The amount
. or “depth” of Echo/Reverb applied to the program is
controlled by the Master Echo/Reverb control. The
overall level of the Monitor 1 mix from all input
channels, as applied to the Monitor 1 output, is
controlled by the Master Monitor 1 fader; this fader
does not affect the Echo/Reverb level however, even
though it is derived from the same mix bus.
The Monitor 1 controls allow you to set a different
mix for stage monitor speakers, or any other location
away from the “main” speakers. The Monitor 1 mix is
also subject to the settings of the channel fader and
EO controls.
The Monitor 2 controls also let you create a separate
mix, but one which is not affected by the channel fader
or EQ controls. ‘‘Pre-fader’’ means that even after a
channel is faded out completely, its input signal may
still be heard at the Monitor 2 Output (at whatever level
is set via the Monitor 2 channel and Master controls).
"Pre-EQ" means that if Low-EO or High-EQ have been
used to alter the bass or treble tone of that input
channel, the EQ will not affect the channel's contri-
bution
to
the
Monitor
2
Output.
The
pre-fader
send
on
Monitor
2
is
especially
useful
for
feeding
devices
likely
to
have
their
own
volume/EQ
controls;
such
as
external
signal
processors,
remote
mixing
trucks,
broadcast
studios,
or other mixing consoles.
The
Pan
control
assigns
the
input
signal
to
the
Left
and
`
Right
program
mix
buses,
and
thus
pans
the
channel
across
the
stereo
perspective
for
the
Speaker,
Line,
and
G-EO
outputs;
at
12
o'clock
position
(“0”
on
the
Pan
control
scale),
the
signal
is
fed
equally
to
the
Left
and
Right
sides
of
these
outputs,
and
is
thus
"centered".
.
OUTPUT CHANNELS
The
four
Speaker
Output
jacks
on
each
mixer
are
designed
for
8-ohm
or
higher
impedance
speaker
loads.
The
chart
(next
column)
shows
the
nominal
speaker
power
that
each
model
EM-Mixer
can
deliver
at
the
Speaker
Output
jacks
with
an
8-ohm
load
on
each
channel.
Attention
must
be
paid
to
choice
of
speakers;
if
a
combined
load
of
less
than
8-ohms
is
connected
to
one
channel
via
either
or
both
of
that
channel's
Speaker
jacks,
the
amplifier
will
be
overloaded.
Overload
might
occur,
for
example,
when
two
8-ohm
speakers,
wired
in
parallel
are
‘connected
to
one
Speaker
jack,
or
when
one
8-ohm
speaker
is
connected
to
each
jack
of
the
Left
or
Right
channel.
Model No. per channel
моюп | — бмв _
[ EwisoB | бмв |
EM-200B
Power ratings are continuous RMS (or, more
correctly, RMS voltage squared, divided by load
impedance) at 1 kHz.
Power outputs of EM-Series II Mixers
Speaker cables should also be chosen carefully. While
phone jacks are necessary, the coiled cords commonly
used for guitars are not acceptable. In fact, the speaker
cables need not be shielded. For short runs (under 25
feet), 18-gauge, or larger diameter wire may be used.
For long runs (over 25 feet), 16-gauge or larger diameter
wire should be used. (#18 or #16 AC "zip" cord, or
similar cable, does a good job.) Be sure to use only high-
quality phone plugs, and to check the cables for
possible short-circuits before each use; an internal short-
circuit or a cracked plug insulator will blow a fuse on
the Mixer.
CAUTION: IF THE FUSE BLOWS AND THE AC
MAINS ARE DELIVERING THE PROPER VOLTAGE,
THE DIFFICULTY IS PROBABLY CAUSED BY
EITHER A SHORT-CIRCUITED SPEAKER CABLE,
A SHORT-CIRCUITED SPEAKER, OR USE OF A
SPEAKER LOAD OF LESS THAN 4-OHMS
IMPEDANCE. CORRECT THE CONDITION, AND
ALWAYS REPLACE THE FUSE WITH ONE OF THE
SAME RATING AND TYPE. LARGER FUSES DO NOT
CURE PROBLEMS; THEY ONLY LEAD TO
PERMANENT DAMAGE OF THE MIXER, AND WILL
VOID THE WARRANTY.
11

RESPONSE Id8)
Lor "P
A pair of VU Meters indicate the average power
level at the Speaker outputs. Actual mix levels should
average several dB below 0, with occasional peaks as
high as O VU. Clipping distortion begins when the VU
meter reaches full scale. The meters are illuminated,
and the meter lamps also serve as AC Power pilot lights.
QD issu e
o
50.
39
00
8
m
UM
YAMAHA . `:
VU YAMAHA | . VU >
PROGRAM
VU meters
The Monitor Output jacks are line-level, high-
impedance outputs. They are designed to drive external
monitor amplifiers, or they also may be used to make
tape recordings. (Since one monitor output is pre-EQ
& fader, and the other is post-EQ & fader, a true stereo
mix would be difficult to achieve here.) The Master
Monitor faders set the level at the Monitor Outputs, and
are independent of Master Program faders. inputs
` connected to the Monitor Sub In jacks will appear, but
inputs connected to the Auxiliary Input jacks will not
appear in the Monitor Outputs.
Master Controls
A special feature of the EM-Series | Mixers are the
Graphic Equalizers. Seven sliders per channel on the
ЕМ-15011В and nine on the EM-200B and EM-300B
alter the frequency response of the Mixer's Left or
Right Program outputs. These sliders differ from the
channel ЕО controls in that each operates over a
limited range of frequencies. (One-octave band centers
on the EM-200B and EM-300B.) Each G-EO slider is.
center detented; it “clicks” at the center ("'flat'") point
of its boost/cut range. These equalizers provide far
more flexibility than typical tone controls. Acoustic
feedback can be reduced by lowering the slider which
covers the frequency range where the feedback occurs.
Feedback frequencies can be estimated by comparing
them to notes on a piano or other instrument {middle
C" is 256 Hz, one octave above is approximately 512 Hz,
etc.).
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Feedback control is actually a minor application for
the Graphic Equalizers. Judicious use of the Equalizers
can help the PA system sound more natural in trouble-
some acoustic environments, and can add desired color,
warmth or penetration even in good acoustic
` environments. For example, some clubs have large ,
amounts of sound-absorbing carpeting, draperies,
12
E Neel te 2
furniture, etc. Since absorptive materials affect mostly
the high-frequencies, the sound may be too mellow or
bassy. Other rooms with very hard walls and ceilings,
or hard surfaced dance floors, may sound too bright.
Or perhaps the speaker system is deficient in one
frequency band yet is peaky in another band. i
Adjusting the Graphic Equalizer can compensate
partially for these problems in a way that would be
difficult to achieve with input channel EO controls.
The Graphic Equalizers may also be used for many
special effects. As with any equalizer, greater amounts
of boost or cut cause greater phase shift. Therefore, use
graphic equalization sparingly; extreme settings should
be reserved for solving severe problems or for special
effects. To keep distortion at a minimum, avoid
excessive boost at a single frequency. Since removing
feedback frequencies with the Graphic Equalizers can
also remove portions of desirable program material,
you should first attempt to solve feedback problems
by careful speaker and microphone placement.
The G-EO In and Out jacks on the rear panel allow
you maximum flexibility in using the Graphic
Equalizers. For example, the diagram below shows
how you can assign one Graphic Equalizer to both
program channels (when a mono program is all you
need) using a "Y"' cord, and then take advantage of
the other Graphic Equalizer for the Monitor 1 mix.
Note:
Connect
house speakers
to "speaker"
jacks.
A4115H
Monitor
Speaker
С-ЕО alternate patching for monitors and house. Not
applicable to Model EM-10011.
The Left and Right Master Program Faders
simultaneously adjust the program level at the Speaker,
Headphone, Line, and Graphic-EQ outputs. These
controls operate normally at about #7. Frequent
mixing with the Master Faders at maximum indicates
that the individual channel faders may be set too low,
that the channel Input Level switches are set incorrectly,
that the input sources are of insufficient level to drive
the Mixer, or that the Mixer's amplifier is not powerful
enough to deliver the acoustic levels you want. In the
later instance, you could use additional power
amplifiers and speakers (driven from G-EQ out), or
you could use more efficient speakers.
The Master Monitor Faders (1 & 2) adjust the
program level at the respective Monitor Outputs.
The Aux In Volume controls affect how much of
the Aux In signal is fed to the program mixing buses.

The Master Program Faders also affect the Aux In signal
level, as well as the program mix from the input channels.
In practice, the Aux In Volume controls determine the
Proportion of the Aux In signal to the mixed signal from
the input channels. On the ЕМ-10011 and EM-15011B, the
incoming Aux signals are fed directly to the Left and
Right program buses. The EM-200B and EM-300B also
have Aux Pan controls which position each incoming
Auxiliary signal left-to-right in the stereo perspective.
Note that the Aux signal does not appear in the
Monitor outputs.
OTHER FEATURES
To use an external reverb or echo device, connect the
Mixer’s Echo Send jack to the input of the external
device, and connect the output from that device to the
mixer’s Echo Return jack. Operate the Mixer’s Reverb/
Echo controls normally. Other types of accessory
devices such as tremolo, phase-shifters, digital delays,
or "pedal devices" may be connected between the
Echo Send and Echo Return jacks for special effects,
solong as the levels are compatible.
The nominal output level at the Echo Send jack is
—20 dB. The nominal input sensitivity at the Echo
Return jack is —30 dB. While these are commonly used
operating levels, there are reverb, echo and delay devices
available that are designed to operate at lower and/or
. higher nominal levels. A device designed to operate at
guitar pickup (i.e. very low line) levels may be over-
driven by the Echo Send jack, causing distortion, or
may have such a low-level output (below —30 dB) that
it will produce excessive noise in the Echo Return
circuit. Such a device should probably be connected
between the instrument and the Mixer's input channel.
A device designed to operate at high line levels (say
—10 to +4 dB) may not be adaquately driven by the
Echo Send jack, or may produce an output that over-
drives the Echo Return jack and causes distortion in
the Mixer. This type of device may be driven from the
Monitor 1 output which has a nominal +4 dB level. If
the nominal output level of the device is only slightly
higher than the —30 dB sensitivity of the Echo Return
jack, (say —20 dB), return the effects to the Echo
Return jack, and lower the level with Master Reverb/
Echo. If the output level is too high for this jack, the
effects may be returned through an unused input
channel; in this case the selected input channel's
Monitor 1 Send must be kept closed to avoid feedback.
The internal spring reverb is disconnected from the .
program whenever a plug is inserted in the Echo Return
jack. To patch the Mixer for use of the internal reverb
device and an external device, connect the mixer's
Echo Send jack to the input of the external device and
connect the output of that device to the mixer's .
Aux Input jacks. With the EM-200B or EM-300B, the -
Aux Pan controls may be used to position the mono
external signal in the stereo mix. With the ЕМ-10011
or ЕМ-150118, a "Y""-adapter cable allows a mono
reverb or echo unit to feed both Aux In jacks. You can
then
fade
out
the
external
Echo.using
the
Aux
Volume
control
(s)
and
fade
in
the
internal
reverb
with
the
—
Master
Reverb/Echo
control
-
or
vice
versa.
If
you
like
the
effect
of
both
devices
together,
you
can
mix
them
by
bringing
up
both
the
Aux
volume
and
Master
Reverb/Echo controls. Е
The
Line
Out
jacks
аге
line-level,
high-impedance
outputs
for
feeding
additional
power
amplifiers,
tape
recorders,
delay
lines,
or
other
devices
with
high-
impedance,
line-level
inputs.
The
Line
Out
jacks
are
External Echo
Use of external echo device only. (Built-in reverb
automatically disconnected.)
Controls internal
effects level
Controls external
effects level
©. ©. Q.
AUXIAL AUXINA REVERS/ECHO
ООО.
LEFT — PROGRAM — RIGHT MONITOR
1
18
2
Optional “Y” adaptor
or stereo echo return
External Echo
Use of BOTH internal reverb and external echo
device. (Alternately or simultaneously)
ac
—
A
—————————
rr
Ls!
!;"!t
A
AL
0$
€
d
controlled
by
the
Master
Program
Faders,
but
are
independent of Master Monitor Faders and Graphic
Equalizers.
WARNING:
SEE
CAUTIONS
ON
PAGES
5,
10,
and
11.
AC
Power
|
Connect
the
AC
Power
Cord
of
the
Mixer
to
any
110
V
to
120
V
AC,
50
Hz
or
60
Hz
grounded
(three-
wire)
outlet.
The
mixers
will
draw
the
following
maximum
Power
from
the
AC
mains:
EM-10011:
140
Watts.
EM-1501IB:
170
Watts
EM-200B:
290
Watts
EM-300B:
400
Watts
For
maximum
protection
each
mixer
is
Fused.
If
a
fuse
blows,
replace
it
with
another
of
the
same
size
and
type.
Repeated
fuse
failures
suggest
a
problem
with
the
Mixer,
speaker
lines,
auxiliary
equipment,
or
power
lines.
Check
the
speaker
lines
for
shorted
circuits
or
too
low
Impedance;
measure
the
power
line
voltage
and
frequency
with
all
equipment
Power
ON;
if
these
meet
the
listed
specifications,
consult
a
qualified
repair
technician.
13

SECTION FOUR
Applications
Club
Sound
Reinforcement
(PA)
System
The EM-Mixers are ideal for use as the main audio
control
board
in
a
typical
nightclub
sound
system.
The
diagram
shows
connections
for
one
of
the
thousands
of
possible
setups.
Shown
are
microphones
for
vocals
and
each
instrument's
amplifier,
a
keyboard
patched
directly
into
the
Mixer
(no
amplifier},
and
submixing
using
Yamaha's
Model
PM-170,
a
high-impedance,
rack-
mountable
mixer.
(The
submixer
is
used
to
obtain
additional
inputs,
and
may
be
used
to
pre-mix
groups
of
instruments
such
as
drums
or
several
keyboards,
before feeding the EM-Mixer.)
Cables
from
high
impedance
microphones
or
high
impedance
instruments
should
be
limited
to
25"
maximum
length
to
avoid
high
frequency
!osses
and
excessive
hum
or
noise.
To
take
advantage
of
low
impedance
lines
and
microphones
with
an
EM-Mixer,
you
can
use
optional
"Transformer
Balancing
Modules”
(Except
ЕМ-10011)
or
connect
in-line
matching
transformers.
For
low
impedance
submixing
use
Yamaha’s
Model
PM-180
(a
low-impedance
rack-
mountable
mixer).
The
nightclub
sound
system
illustrated
here
uses
an
external
echo
device,
connected
between
the
Mixer's
Echo
Send
and
Echo
Return
jacks.
Other
types
of
accessory
devices
may
be
connected
between
these
jacks,
as
explained
in
Section
III.
A
stereo
tape
recorder
may
be
used
in
this
system
both
for
music
playback
during
set-up
and
inter-
missions,
and
for
live
program
recording.
The
outputs
of
a
recorder
normally
would
be
connected
to
the
EM-mixer's
Auxiliary
inputs,
or,
if
a
submixer
is
in
use,
the
recorder
outputs
can
be
patched
to
the
submixer's
Keyboard Output С)
Bass Amp Міс заа
Guitar
Amp
Міс
Q
C—O
Yamaha
54115A
‘Main’ Speakers
Yamaha
A4115H
Monitors
14
aux
inputs
(as
shown).
Either
approach
permits
tape
playback
without
tying
up
an
input
channel
on
the
EM-Mixer.
To
record
live
stereo
program
material,
the
Line
Outputs
from
the
EM-Mixer
would
be
patched
to
the
record
inputs
of
the
tape
machine.
Alternately, for a mono program, the EM-Mixer's
Monitor
2
Output
could
be
connected
to
the
recorder's
jnput(s).
This
would
send
a
pre-EQ/fader
mix
to
the
recorder,
allowing
you
to
set
a
different
mix
for
the
recording
than
for
the
house
PA.
1f,
for
example,
the
on-
stage
instrument
amplifiers
were
loud
in
the
house
you
could
keep
their
mix
levels
very
low
in
the
PA
speakers,
but
you
could
pull
those
channels
up
in
the
recorded mix.
Any
high-quality
4-
or
8-ohm
speaker
system
may
be
used
with
the
EM-Mixer,
provided
that
the
speakers'
power
capacity
is
compatible
with
the
output
power
of
the
Mixer
(See
page
11).
Each
main
speaker
in
this
night-
club
example
is
a
Yamaha
Model
S4115H,
chosen
for
its
high
efficiency,
controlled
dispersion,
and
natural
sound.
The
S4115H
has
a
15”
low-frequency
woofer
housed
in
a
combination
front-loaded
horn/ducted-port
bass
reflex
enclosure.
Its
high
frequency
section
consists
of
a
com-
pression driver
and
radial
horn.
compression
driver
and
radial
horn.
Yamaha
Model
A4115H
speakers
are
shown
as
stage
monitors,
a
good
choice
due
to
their
built-in
100
Watt
power
amplifiers.
Alternately,
501127,
$2115H,
SO110T,
or
other
speakers
which
do
пої
have
built-in
power
amplifiers
can
be
used
with
a
separate
power
amplifier
such
as
the
Yamaha
P2050,
P2100
or
P2200.
Vocal Mics —
External
Echo
Program Out
YAMAHA PM-170
Aux
Jin
Channel Inputs
Drum Mics

Instrument Mixer
Contemporary musicians often use a multi-instrument
approach to achieve a variety of sounds and effects. The
diagram shows a typical setup for a player using several
keyboards and mixing them on stage with the EM-10011
mixer. Also illustrated are feeds to the house mixing
console, and a Yamaha S4115H speaker system used as
a stage monitor. By adjusting the individual channel Pan
controls, the performer can feed two subgroups to the
house mixer, or one stereo mix if his instruments require.
(Note: When mixing live on stage in this manner, the
performer would contro! the sound he hears on stage by
changing the Monitor 1 controls. The channel faders
would be pre-set during the sound check for optimum
main house mixing levels.) The Input Level switch
should be set to the proper position for the input
sources in each channel (See page 10). The overall setup
would be similar for a guitarist or other musician.
The mono output of a stereo instrument can be
connected to any channel input on the Mixer. To use
the mixer’s full stereo capabilities with a stereo instru-
ment, connect the left and right outputs of the instru-
ment to two of the Mixer's channel inputs. Then set one
Pan control fully “Left” and the other fully “Right” or,
for less separation,set the controls more toward center.
Special effects can be added by adjusting the EQ and
Reverb/Echo controls on the two channels differently.
To gain an additional stereo input, connect your line-
level stereo instrument to the Mixer's Auxiliary Inputs;
an instrument or other source connected to the
Auxiliary Inputs will not appear in the Mixer's
Monitor or Echo Send Outputs.
Yamaha CS-5 Synthesizer
Microphone
S4115H
Speaker
Instrument
Type
Direct
Box
To РА
Yamaha Electric
Grand Piano
Yamaha
Electronic Piano
Yamaha YC-45D
Combo Organ
Instrument
Yamaha
PM-170
Mixer
Type
Direct
Box
L Program Output A, —20
Inputs
From additional
To РА Keyboards & Mics
15

Other Reinforcement Uses
The EM-Mixers can be used successfully i in a wide
variety of sound reinforcement applications. Combined
with a pair of Yamaha 50112Т or other compact
speaker systems, and a roll-around podium, an EM-Mixer
makes a great portable sound system for a school,
library, banquet hall or meeting room. Plug the line-level
sound output from a portable film projector into one
channel, and adjust the Input Level switch to suit the
projector's output level. Connect microphones and/or
a tape recorder's Play outputs (line out) to other input
channels, and adjust each for the best tonal qualities.
The flexibility and economy of the EM-Mixers make
them attractive for permanent installations, too. Use
connections similar to those diagramed for Club Sound
Reinforcement Systems. These mixers are especially
useful for permanent multi-projector/recorder setups
(like slide, 16mm film, and filmstrip with additional
cassette and reel-to-reel audio sources). To minimize
hum and high-frequency losses, avoid long microphone
cables, or use low-impedance microphones with the
optional "Balancing Transformer Modules” on the
EM-150HB, EM-200B, & EM-300B; or use in-line
matching transformers. Always use heavy gauge
speaker cable, and keep microphone, speaker, and AC
power lines well separated.
You can feed another PA system (one with low
or high impedance inputs) from the EM-Mixer's Line
Outputs or its Monitor Outputs. For a mono feed to a
. PA system with a low or high impedance input, use
either Monitor Output. If you want a balanced feed to
a remote mixer, use a “direct box," or a transformer.
Line Out*
Film Projector
Microphone
09
Tape Player
$0112T
Speakers
Phonograph with
built-in preamplifier
Output L R
Cassette Recorder
(Fed by Echo Mix;
NENNEN ERES ee ee
stereo recorder can be fed
by Line Out or Mon Out)
*The low-power speaker output of these units may be acceptable;
ask your Yamaha dealer for assistance,

Submixing with Two EM-Mixers
There are several ways to connect two EM-Mixers
together. One easy method allows all the channel inputs
of each Mixer to feed both the Monitor and Speaker
outputs. |
To accomplish this:
1. Plug the Line outputs of Mixer 1 into the Aux
Inputs of Mixer 2.
2. Plug the Monitor Outputs of Mixer 2 into the
Monitor Sub Inputs.of Mixer 1.
3. Patch the Monitor Outputs of Mixer 1 into the
G-EQ Inputs of Mixer 1.
4. Plug the. main speakers into the Speaker Outputs
of Mixer 2, and the monitor speakers into the Speaker
Outputs of Mixer 1.
All channels of each mixer can now feed both the
monitors and main speakers, Overall monitor levels
are now controlled with the Master Monitor faders on
Mixer 1, and overall program levels are controlled by
the Master Program Faders on Mixer 2.
This method facilitates the use of "subgroups" for
easier mixing. For example, if you use an ЕМ-150 В
for Mixer 1, and an EM-300B as Mixer 2, you could
send your vocals and percussion into Mixer 1, and all
other instruments into Mixer 2. By Planning all vocals
in Mixer 1 fuli left and all percussion full right, you
would be sending separate and complete vocal and
drum mixes to the Master Aux controls of Mixer 2.
Using the. Aux Pan controls on Mixer 2, you can then
position the vocals and the drums independently any-
where in the stereo perspective. This allows you to vary
the level of all vocals or all the drums, simply by varying
the Mixer 2 Master Aux In 1 and 2 controls. Similarly,
the Master Program Faders on Mixer 1 now serve as a
subgroup for all Mixer 1 inputs feeding the Program
outputs, and the Master Monitor faders on Mixer 2 now
serve as subgroups for all inputs on Mixer 2 being fed to
the monitors.
An additional advantage in this example is the ability
to use Graphic Equalizers for each channel of both the
main and monitor speakers, with different EO for each.
CAUTION: Use extreme caution when connecting two
mixers. Be certain that you patch connections so that
no output can be fed to an input which would again be
fed to the same output. In some instances the setting of
a channel mix or monitor send control may be the key
to avoiding this situation. Should you allow an output-
to-input loop to occur, the result will be feedback
(howling), oscillation, and possibly severe damage to the
Mixer or other sound system components. Yamaha is
not responsible for any such damage due to negligent
or improper use, and such use may void the Warranty.
House Speakers
(Yamaha S4115H)
Monitor Speakers
(Yamaha S4115H)
Vocal Mics
(Panned Left)
Drum Mics
(Panned Right)
Repositions
Percussion
Repositions
Vocals
Ы Vocal Submaster
С) Э) С) (House & Monitors)
t 10 0 10
AUXINE AUX INA REVERB/ECHO .
Percussion Submaster
(House & Monitors)
LEFT — PROGRAM — RIBHT 1 MONITOR
tert
Tr
eT
pe
to
ud
SNORO
4
MONITOR
LEFT — PROGRAM RIGHT
لا
Subgroup
to
House
Master
Monitor
Speakers
17

$4115H
Recording
When
the
Mixer
is
being
used
for
vocal
or
instrument
mixing,
its
Line
Outputs
can
feed
a
tape
recorder,
or
the
inputs
of
a
professional
recording
console.
All
EM-Mixers
work
well
for
on-site
recording:
The
diagram
shows
one
possible
setup
for
tape
recording.
Two
Yamaha
S4115H
speakers
serve
as
monitors.
To
use
the
EM-Mixer
for
recording,
operate
its
Channel
Inputs
normally-and
feed
the
Left
and
Right
Line
Outputs
to
the
tape
recorder's
line
inputs.
Connect
the
tape
recorder's
line
outputs
to
the
Mixer's
Left
and
Right
Auxiliary
Inputs.
(Keep
Aux
Volume
at
zero
while
recording
.
. .
trying
to
monitor
the
tape
as
it
is
being
recorded
will
create
feedback.)
For
playback,
fade
the
Aux
In
controls
up
to
a
comfortable
listening
level.
Electric
Control
Room
Monitor
18
S4115H
Studio or
Broadcast Production
The EM-Mixers can be used for broadcast studio
production, or for location work. The input channel
flexibility
allows
the
engineer
to
use
mics,
tape
machines,
or external phono preamps. The announcer can use the
Monitor 2 (pre-fader) Output for previewing a mono mix,
and
the
Left
and
Right
Line
Outputs
for
a
program
feed.
Alternately, the Monitor 2 Output may be used to feed a
mono program to the transmission or recording point,
with the Speaker outputs used as control room and/or
studio monitors.
Maintenance
When operating your EM-Mixer, never cover the air
vents on the top or bottom panel. Constricting the air
flow through these vents may cause overheating and
damage to the mixer.
The use of solvents for cleaning the front panel
may cause discoloration. Dust the panels and control
knobs with a soft cloth; use a damp sponge with a mild
dish detergent if necessary.
Your EM Series II Mixer is an integrally-designed unit.
It requires no regular maintenance, other than common
sense
and
reasonably
careful
handling.
Should
a
problem
develop within the Mixer, refer servicing to an authorized
Yamaha M.I. dealer or service center.
If you encounter other problems like no Echo, output
on
only
one
channel,
Monitors
or
Sepaker
outputs
only
working on one jack, etc.; re-check all input/output
connections, pan controls, and the channel and
master
faders.
Also,
see
the
troubleshooting
chart
on
page 20.
Yamaha Electronic Piano
Tape Machine

SECTION FIVE _
Balanced Input Transformer Modules
nput transformer modules or Yamaha EM-150IIB,
Installation instructions for balanced i
EM-200B and EM-300B.
PARTS IDENTIFICATION
Model BT-150: 6-channel balancing transformer module for EM-150IIB mixer.
Model BT-200: 8-channel balancing transformer module for EM-200B mixer.
Model BT-300: 12-channel balancing transformer module for EM-300B mixer.
NOTE: A Model BT-150 may be used to balance the first 6 inputs of a Model EM-300B;
refer to the Special Instructions after the General Installation Procedure.
»n
GENERAL INSTALLATION PROCEDURE
Set the mixer down on a suitable work table. The unit
should be vertically oriented, resting on the rear-panel
power cord holder brackets. Orient the mixer so its
1.
bottom panel is facing you.
Remove the 4 phillips head screws that secure the trans-
former compartment access cover, and set the cover
aside. (Refer to Figure 1.)
Figure 2A .
Figure 2B
Figure 1 (EM-3008)
Remove the 28-pin jumper connectors" from their
sockets in the compartment. Save these connectors in
case you later wish to return the mixer to the unbal
anced configuration. (Refer to Figures 2A and 2B.)
*The EM-150IIB has only one jumper connector.
NOTE: The 28-pin sockets are intentionally mounted
loosely so they “float”, allowing for self-alignment
when the transformer module is installed.
DO NOT ATTEMPT TO TIGHTEN THE SOCKET
MOUNTING SCREWS.
19