Yamaha EM2820 User manual
POWERED
MIXER
TABLES
DE
MIXAGE
AMPLIFIEE
AKTIV-MISCHPULT
OPERATION
MANUAL
MODE
D'EMPLOI
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SEDE
With
your
purchase
of
the
YAMAHA
EM2820
Powered
Mixer,
you
have
entered
into
the
fine
world
of
advanced
Yamaha
powered
mixer
technology.
The
EM2820
represents
a
new
level
of
refinement
for
stereo
output
mixers
dedicated
to
superior
performance
in
small
to
midsize
PA
and
sound
rein-
forcement
applications.
In
addition
to
stereo
output
powered
by
a
built-in
200
watt
amplifier
into
4
ohm
loads,
the
EM1620
features
three-band
equalization
on
each
one
of
the
eight
input
channels,
a
left
and
right
master
seven-band
graphic
equalizer,
and
an
internal
limiter
circuit
that
prevents
distortion
of
the
output
signal.
As
a
result,
shaping
channel
signals
and
overall
output
mix
is
versatile,
convenient,
and
safe.
Input
channels
offer
a
choice
of
XLR-type
or
phone
jack
connectors,
and
stereo
output
can
be
easily
configured
with
the
accessible
front
panel
controls
and
incorporation
of
external
effects,
speakers,
and
monitoring
systems.
A
Phantom
Master
switch
is
also
included
to
supply
+48
V
when
needed
for
smooth
integration
of
condenser
microphones.
You
can
be
assured
of
reliable
performance
day
in
and
day
out
for
even
the
most
demanding
applications.
To
fully
benefit
from
the
exceptional
capabili-
ties
of
your
EM2820
Powered
Mixer,
please
read
this
manual
thoroughly
and
keep
itin
a
safe
place
for
future
reference.
CONTENTS
PRECAUTIONS
a
OPERATION
sis
marker
gie
Si
wana
OPERATING
TIPS
.........
A
BASIC
SYSTEM
......
GENERAL
SPECIFICATIONS
.........................
LIMITER
OPERATION
......
TROUBLE
SHOOTING
...
BLOCK
&
LEVEL
DIAGRAM
.
DIMENSIONS
..........
PRECAUTIONS
A
5
ee
1.
Avoid
Excessive
Heat,
Humidity,
Dust
and
Vibration
Keep
the
unit
away
from
locations
where
it
is
likely
to
be
exposed
to
high
temperatures
or
humidity
—
such
as
near
radiators,
stoves,
etc.
Also
avoid
loca-
tions
which
are
subject
to
excessive
dust
accumula-
tion
or
vibration
which
could
cause
mechanical
damage.
Avoid
Physical
Shocks
Strong
physical
shocks
to
the
unit
can
cause
dam-
age.
Handle
it
with
care,
Do
Not
Open
The
Case
Or
Attempt
Repairs
Or
Modifications
Yourself
This
product
contains
no
user-serviceable
parts,
Re-
fer
all
maintenance
to
qualified
Yamaha
service
per-
sonnel.
Opening
the
case
and/or
tampering
with
the
internal
circuitry
will
void
the
warranty.
4.
Make
Sure
Power
Is
Off
Before
Making
Or
Removing
Connections
Always
turn
the
power
OFF
prior
to
connecting
or
disconnecting
cables.
This
is
important
to
prevent
damage
to
the
unit
itself
as
well
as
other
connected
equipment.
5.
Handle
Cables
Carefully
Always
plug
and
unplug
cables
—
including
the
AC
cord
—
by
gripping
the
connector,
not
the
cord.
6.
Clean
With
a
Soft
Dry
Cloth
Never
use
solvents
such
as
benzine
or
thinner
to
clean
the
unit.
Wipe
clean
with
a
soft,
dry
cloth.
7.
Always
Use
the
Correct
Power
Supply
Make
sure
that
the
power
supply
voltage
specified
on
the
rear
panel
matches
your
local
AC
mains
sup-
ply.
Also
make
sure
that
the
AC
mains
supply
can
deliver
more
than
enough
current
to
handle
all
equipment
used
in
your
system.
Dette
apparat
overholder
det
gaeldende
EF-
direktiv
vedrørende
radiostoj
Cet
appareil
est
conforme
aux
prescriptions
de
la
directive
communautaire
87/308/CEE
Diese
Geráte
entsprechen
der
EG-Richtlinie
82/499/EWG
und/oder
87/308/EWG
This
product
complies
with
the
radio
fre-
quency
interference
requirements
of
the
Council
Directive
82/499/EEC
and/or
87/308/
EEC
Questo
apparecchio
é
conforme
al
D
M
13
aprile
1989
(Direttiva
CEE/87/308)
sulla
sop-
pressione
dei
radiodisturbi
Este
producto
está
de
acuerdo
con
los
requisitos
sobre
interferencias
de
radio
freguencia
fijados
por
el
Consejo
Directivo
87/30B/CEE
YAMAHA
CORPORATION
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
procced
as
follows:
The
wire
which
is
coloured
GREEN-AND-YELLOW
must
be
connected
to
the
terminal
in
the
plug
which
is
marked
by
the
letter
E
or
by
the
safety
earth
symbol
=
or
coloured
GREEN
or
GREEN-AND-YELLOW.
The
wire
which
is
coloured
BLUE
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
N
or
coloured
BLACK.
The
wire
which
is
coloured
BROWN
must
be
connected
to
the
terminal
which
is
marked
with
the
fetter
L
or
coloured
RED.
*
This
applies
only
to
products
distributed
by
YAMAHA
-
KEMBLE
MUSIC
(U
K)
LTD.
1
dh
Bi
FRONT
PANEL
CONTROLS
OPERATION
14
o
Ge
88
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|
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Zort
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finfino
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|
DUDU
H
ITT
|
ASKE
KY:
MULA
A
Å
f
hallal
popping
|
R
no
inn
INPUT
CHANNELS
@
PAD
switch
This
switch
attenuates
the
signal
applied
to
the
cor-
responding
channel
input
by
15
dB
prior
to
the
head
amplifier.
The
15
dB
switch
effectively
increase
the
range
of
input
signal
levels
that
can
be
handled
by
the
mixer,
preventing
overloading
of
the
input
cir-
cuitry
when
receiving
high-level
signals.
The
pad
is
ON
when
the
15
dB
switch
is
in
the
=
(lower)
po-
sition,
HIGH,
MID
and
LOW
EQUALIZER
con-
trols
These
three
controls
permit
selective
modification
of
the
frequency
response
for
each
channel.
The
HIGH,
MID,
and
LOW
EQUALIZER
controls
have
the
following
characteristics:
Control
Freq.
|
Control
HIGH
10
kHz
Shelving
MID
2
kHz
Peaking
100
Hz
|
Shelving
15
LOW
BOOST
MID.
20091
|
i
pu
;
HIGH
"ATI
NG
ii
Cc]
BOOST
Å
UI
a
CLD
4
Forme
E
=
[3
il
|
Ki
| |
pa
HIGH
CUT
LOW
CUT
la
MID
CUT
il
100
D
Toe
FREOUENOY
(Hz)
@
EFFECTS
control
The
EFFECTS
contro!
determines
the
level
of
the
signal
sent
from
the
corresponding
channel
to
the
EFFECTS
mixing
bus.
At
the
bus,
the
EFFECTS
signals
from
all
channels
are
mixed
and
fed
to
the
EFFECTS
SEND
control
and
the
rear
panel
EFF
SEND
jack.
The
EFFECTS
control
configuration
is
factory
preset
to
post-EQUALIZER/post-
VOLUME.
As
aresult,
the
EFFECTS
signal
is
directly
depend-
ent
on
the
settings
of
the
channel
EQUALIZER
and
VOLUME
controls.
@
MONITOR
control
The
MONITOR
control
determines
the
level
of
the
signal
sent
from
the
corresponding
channel
to
the
MONITOR
mixing
bus,
At
the
bus,
the
MONITOR
signals
from
all
channels
are
mixed
and
fed
to
the
master
MONITOR
control
and
the
rear
panel
MON
OUT
jack.
The
MONITOR
control
configuration
is
factory
preset
to
pre-EQUALIZER/pre
VOLUME.
As
a
result,
the
MONITOR
signal
is
independent
of
the
settings
of
the
channel
EQUALIZER
and
VOL-
UME
controls.
PAN
control
The
PAN
control
determines
the
position
in
the
stereo
sound
field
at
which
the
sound
from
that
channel
is
heard.
Rotated
fully
counterclockwise
the
channel
signal
will
be
delivered
from
the
left
output
only,
and
will
be
heard
at
the
far
left
of
the
stereo
sound
field.
If
the
PAN
control
is
turned
fully
clockwise,
the
sound
from
that
channel
will
appear
at
the
far
right
of
the
stereo
sound
field.
If
the
PAN
control
is
set
at
its
center
position,
the
channel
signal
will
be
sent
equally
to
both
the
left
and
right
channels,
causing
the
sound
to
appear
at
the
center
of
the
sound
field.
Intermediate
PAN
control
settings
cause
the
sound
to
be
heard
at
the
corresponding
position.
Channel
fader
This
is
the
main
level
control
for
each
input
chan-
nel.
The
setting
of
the
fader
control
determines
the
level
of
the
channel
signal
in
the
overall
master
stereo
output
signal.
As
a
precaution,
if
the
channel
is
not
being
used,
the
fader
control
should
be
set
to
the
lowest
level
to
prevent
unwanted
noise
from
being
added
to
the
main
signal.
Master
Control
Section
]
@
TAPE
TO
MONITOR
control
The
TAPE
TO
MONITOR
control
adjusts
the
level
of
the
signal
received
from
the
rear
panel
TAPE
IN
inputs
(RCA
pin
jacks
TAPE
IN
R
and
L).
The
adjusted
signal
is
then
fed
to
the
master
MONI-
TOR
control
and
the
rear
panel
MON
OUT
jack.
The
TAPE
TO
MONITOR
control
selectively
deter-
mines
the
output
level
of
tape
recorders
or
other
such
devices
in
the
MON
OUT
signal.
TAPE
IN
control
The
TAPE
IN
control
regulates
the
level
of
the
sig-
nal
sent
from
rear
panel
TAPE
IN
inputs.
The
regu-
lated
signal
is
then
added
to
the
SP
OUT,
REC
OUT,
and
LINE
OUT
signals.
The
TAPE
IN
control
sets
the
output
level
of
tape
recorders
or
other
such
de-
vices
in
the
main
program
signal.
When
recording
from
the
REC
OUT
jacks,
this
con-
trol
must
be
set
at
a
minimum
to
avoid
electronic
feedback.
As
a
result,
recording
and
playback
can-
not
be
accomplished
at
the
same
time
with
one
tape
machine,
EFFECTS
TO
MONITOR
control
The
EFFECTS
TO
MONITOR
control
adjusts
the
level
of
the
combined
signal
received
from
the
rear
panel
EFF
RTN
inputs
(1/4"
phone
jacks
EFF
RIN
R
and
1.)
before
the
signal
is
fed
to
the
rear
panel
MON
OUT
jack.
The
EFFECTS
TO
MONITOR
control
selectively
determines
the
output
level
of
external
effects
in
the
MON
OUT
signal.
EFFECTS
RETURN
control
The
EFFECTS
RETURN
control
regulates
the
level
of
the
combined
signal
sent
from
the
rear
panel
EFF
RTN
inputs.
The
regulated
signal
is
then
added
to
the
main
program
signal.
The
EFFECTS
RETURN
control
sets
the
output
level
of
external
effects
in
the
main
program
signal.
EFFECTS
SEND
control
This
control
adjusts
the
output
level
of
the
overall
mix
derived
from
the
input
channel
EFFECTS
con-
trols
and
feeds
the
signal
to
the
rear
panel
EFF
SEND
jack,
The
EFFECTS
SEND
control
should
be
used
to
optimally
match
the
mixer
EFF
SEND
out-
put
level
to
the
input
sensitivity
of
the
connected
external
effect
or
signal
processor.
@
MONITOR
fader
The
independent
monitor
bus
features
a
master
MONITOR
control
for
adjustment
of
the
overall
monitoring
level.
This
control
adjusts
the
output
level
of
the
overall
mix
derived
from
the
input
channel
MONITOR
controls
and
feeds
the
signal
to
the
rear
panel
MON
OUT
jack.
STEREO
L
and
R
MASTER
faders
The
output
level
of
the
main
program
signal
is
regu-
lated
by
the
MASTER
faders.
The
regulated
signal
is
fed
directly
to
the
rear
panel
LINE
OUT
L
and
R
jacks
and
via
the
graphic
equalizer
to
the
rear
panel
SPOUTLandR
jacks.
Graphic
Equalizers
For
precise
response
shaping
of
the
SP
OUT
signals,
the
seven-band
graphic
equalizers
provides
12
dB
of
boost
or
cut
in
each
band.
There
are
seven
independ-
ent
linear
controls
at
the
standard
ISO
center
fre-
quencies
of
125,
250,
500,
1k,
2k,
4k,
and
8k
Hz
peaking.
LIMITER
indicator
The
EM2820
is
equipped
with
a
limiter
circuit
which
limits
the
maximum
level
of
the
signal
at
SP
OUT
L.
and
R
to
prevent
the
signal
from
distorting.
The
LIMITER
indicator
is
lit
when
the
limiter
cir-
cuit
is
activated.
PROTECTION
indicator
The
PROTECTION
indicator
lights
for
approximately
6
seconds
after
the
POWER
switch
is
pressed
to
indicate
that
the
protection
circuitry
is
operating.
No
sound
is
output
at
SP
OUT
L
and
R
while
this
indicator
is
lit.
This
indicator
will
also
light
and
the
sound
will
be
cut
off
at
SP
OUT
L
and
R
when
the
protection
circuitry
is
activated
at
any
other
time
during
the
amplifier
operation
due
to
factors
such
as
a
detection
of
excessive
DC
voltage
at
SP
OUT
ora
thermal
overload.
When
the
problem
is
corrected,
the
protection
circuitry
is
automatically
deactivated,
the
indicator
goes
out,
and
the
amplifier
resumes
normal
operation.
POWER
ON/OFF
indicator
When
the
power
is
ON
(==),
the
POWER
indicator
LED
will
be
lit.
El
REAR
PANEL
soo
B
POWER
ON/OFF
switch
The
power
switch
turns
the
power
ON
or
OFF.
It
is
recommended
that
all
fader
controls
be
set
to
their
lowest
levels
before
the
power
is
switched
ON.
This
will
prevent
sudden
power
surges
to
any
external
equipment.
LINE
and
MIC
INPUT
connectors
Each
input
channel
offers
a
choice
of
two
input
connectors:
a
MIC
IN
connector,
a
balanced
4
kohm
impedance
XLR-3-31
connector,
and
a
LINE
IN
connector,
an
unbalanced
10
kohm
impedance
1/4"
phone
jack.
The
MIC
connectors
are
primarily
in-
tended
for
use
with
professional
low-impedance
mi-
crophones
or
electronic
instruments
having
low-im-
pedance
balanced
outputs.
The
LINE
connectors
will
accept
unbalanced
signals
from
musical
instruments
or
other
such
source
equipment.
PHANTOM
MASTER
switch
This
switch
applies
built-in
standard
#48
V
power
to
all
MIC
(XLR)
input
connectors
for
biasing
Phan-
tom
powered
condenser
microphones.
Aa
VS
S
O
BO
©
OG
e.a
MICROPHONE
CABLES
AND
MICROPHONES
CONNECTION
TO
PREVENT
HAZARD
OR
DAMAGE,
ENSURE
THAT
ONLY
MICROPHONE
CABLES
AND
MI-
CROPHONES
DESIGNED
TO
THE
1EC268-15A
STANDARD
ARE
CONNECTED.
MON
OUT
jack
This
mono
1/4"
phone
jack
(unbalanced)
delivers
the
monitor
output.
This
output
can
be
used
to
feed
the
external
monitor
system.
The
output
impedance
is
150
ohms
and
the
nominal
output
level
is
+4
dB.
This
signal
is
not
amplified.
ST
OUT
L
and
R
jacks
The
EM2820
is
equipped
with
unbalanced
1/4"
phone
jacks
which
deliver
a
stereo
mix
of
the
input
channel
signals.
The
ST
OUT
signal
can
be
used
to
drive
a
power
amplifier
and
speaker
system,
powered
key-
board
speakers,
or
a
main
mixing
console.
Nominal
output
level/load
impedance
for
the
phone
jack
out-
puts
is
+4
dB/10
k-ohms.
@
POWER
AMP
mode
switch
The
POWER
AMP
switch
changes
the
mode
of
the
SP
OUT
signals.
When
the
switch
is
in
the
STEREO
position,
the
SP
OUT
L
and
R
jacks
deliver
stereo
signal
output
with
200
watt
amplification
into
4
ohm
loads.
When
the
switch
is
set
to
the
MON
(MONI-
TOR)
position,
the
SP
OUT
L
jack
delivers
an
amplified
monaural
L+R
signal.
The
SP
OUT
R
jack
provides
an
amplified
+4
dB
MON
signal
with
150
ohm
im-
pedance.
(Amplification
is
200
watt
into
4
ohm
loads.)
©
STEREO
mode
EM2820
SP
OUT
RAMON)
LAR)
POWER
AMP
“ou
STEREO
Main
Speaker
Main
Speaker
for
Left
Channel
for
Right
Channel
O
SP
OUT
Land
R
jacks
SP
OUT
1
and
SP
OUT
2
are
standard
mono
1/4"
phone
jacks.
The
jacks
are
wired
in
parallel
and,
as
a
result,
if
you
connect
a
speaker
system
to
only
one
of
the
two
jacks,
then
the
total
load
impedance
of
the
speaker
system
may
be
no
less
than
4
ohms.
If
you
plug
speaker
systems
into
both
of
the
SP
OUT
jacks,
the
total
load
impedance
of
each
speaker
sys-
tem
must
be
no
less
than
8
ohms.
O
L+R/MON
mode
EM2820
SP
OUT
RAMON)
ULA)
POWER
AMP
Bon
STEREO
Main
Speaker
+
Monitor
Speaker
2
o
B
2
D
Es
E
Z
pd
2
MASTER
“=
3
O
FADER
@
POWER
AMP
mode
på
p
Switch
|
an
GRAPHIC
POWER
4]
I
o
|
EQUALIZER
|
Vil
ur)
—
@
MASTER
LR
|
e
o
FADER
i
B
SP
OUT
y
e
o
o
T
x
MÄ
GRAPHIC
o
EQUALIZER
VA
mon
—
@
NONITOR
MON
o
MASTER
FADER
Le
t
Lå
O
EFF
SEND
jack
The
signal
adjusted
by
the
EFFECTS
SEND
control
is
delivered
to
this
1/4"
phone
jack
(unbalanced).
Its
output
impedance
is
150
ohms
and
the
nominal
out-
put
level
is
-10
dB.
O
EFF
RTN
jacks
The
output
from
an
external
signal
processing
de-
vice
fed
by
the
EFF
SEND
output
can
be
returned
to
the
main
program
and
monitor
signals
via
the
EFF
RIN
jacks.
These
1/4"
phone
jacks
(unbalanced)
have
an
input
impedance
of
10
kohms
and
a
-20
dB
nominal
input
level,
@
REC
OUT
jacks
The
REC
OUT
RCA
pin
jacks
deliver
a
-10
dB
line-
level
signal
which
has
not
been
affected
by
the
MASTER
level
control,
The
REC
OUT
signals
can
be
fed
to
a
tape
or
cassette
recorder
for
convenient
recording
of
the
main
program.
The
jacks
have
an
output
impedance
of
600
ohms.
@
TAPE
IN
jacks
These
-10
dB
RCA
pin
jack
inputs
are
ideal
for
receiving
the
signals
from
tape
recorders
or
any
other
line-level
sources.
The
TAPE
IN
jacks
have
an
input
impedance
of
10
kohms.
OPERATING
TIPS
CONNECTING
SOURCES
]
|
SOUND LEVEL
BALANCE
AND
CONTROL
INPUT
MIC
-
4548
PIN
1:
GROUND
PIN
3:
COLD
(-)
*
MAKE
SURE
THE
MIXER'S
POWER
SWITCH
IS
OFF
WHEN
CONNECTING
OR
DISCONNECT-
ING
ANY
CABLES.
*
ALWAYS
TURN
THE
MIXER'S
POWER
ON
AFTER
TURNING
ON
CONNECTED
SOURCES
SUCH
AS
ELECTRONIC
INSTRUMENTS,
ETC.
CONNECTING
SPEAKERS
|
The
EM2820
powered
mixers
have
two
1/4"
phone
jack
speaker
outputs
which
are
internally
connected
in
paral-
lel.
This
place
some
restrictions
on
their
use.
*
IF
YOU
CONNECT
SPEAKER SYSTEMS
TO
ONLY
ONE
OF
THE
AVAILABLE
SPEAKER
OUTPUTS,
THE
TOTAL
IMPEDANCE
OF
THE
CONNECTED
SPEAKER
SYSTEM
MAY
BE
NO
LESS
THAN
4
OHMS.
*
IF
YOU
CONNECT
SPEAKER
SYSTEMS
TO
BOTH
OF
THE
AVAILABLE
SPEAKER
OUTPUTS,
THE
TOTAL
IMPEDANCE
OF
THE
SPEAKER
SYS-
TEM
CONNECTED
TO
EACH
OUTPUT
MAY
BE
NO
LESS
THAN
8
OHMS
(equalling
a
total
of
4
ohms).
While
a
higher
total
load
impedance
than
the
recom-
mended
impedance
will
only
result
in
a
loss
of
power
output,
a
total
load
impedance
that
is
too
low
can
actu-
ally
damage
the
powered
mixer.
With
a
total
load
im-
pedance
of
8
ohms,
the
maximum
output
power
of
EM2820
mixers
is
120
watts,
With
a
total
load
impedance
of
4
ohms,
maximum
output
power
is
200
watts.
*
NEVER
CONNECT
OR
DISCONNECT
SPEAKERS
WHILE
THE
MIXER'S
POWER
IS
TURNED
ON!!
Before
turning
ON
the
mixer
AC
power
switch,
connect
all
inputs,
outputs,
and
speakers,
and
be
sure
the
monitor
control
is
at
“0”.
If
other
electronic
equipment
or
elec-
tronic
instruments
are
connected
to
the
inputs
of
the
EM2820,
turn
ON
that
equipment
before
turning
on
the
mixer.
This
will
not
only
avoid
annoying
hum,
it
will
also
prevent
power-on
transients
from
damaging
speak-
ers
or
other
equipment.
To
obtain
a
good
S/N
ratio
with
little
noise
and
wide
dynamic
range,
it
is
important
to
establish
a
proper
bal-
ance
between
each
channel
fader
control
and
the
MAS-
TER
control.
Generally
speaking,
to
set
the
volume
of
the
signals
at
SP
OUT
and
to
obtain
a
good
S/N
ratio,
the
channel
fader
control
should
be
set
as
high
as
possible
and
the
MASTER
fader
controls
should
be
set
low.
However,
if
the
channel
fader
is
set
too
high,
the
signal
will
clip,
and
the
sound
will
become
distorted.
Initially,
set
the
channel
fader
to
“O”,
and
the
MASTER
fader
controls
to
about
“3”.
Increase
channel
sensitivities
one
at
a
time
until
the
desired
mix
balance
is
achieved;
the
fader
of
the
channel
with
the
lowest
signal
level
should
be
set
somewhere
between
“8”
and
“9”.
At
this
point,
if
the
overall
sensitivity
is
too
high
or
too
low,
readjust
the
MASTER
faders
accordingly.
The
same
considerations
apply
to
the
MONITOR
output.
Although
the
LIMITER
circuitry
is
capable
of
handling
reasonable
signal
overranges
without
distortion,
exces-
sively
large
power
signals
will
be
distorted.
The
best
policy
for
stable
signal
output
is
to
keep
the
signal
turned
down
to
avoid
situations
that
activate
the
limiter
circuitry.
EE
CHANNEL
EQ
|
|
GRAPHIC
EQUALIZATION
The
HIGH,
MID
and
LOW
equalization
controls
on
each
channel
of
the
mixer
make
it
possible
to
independently
equalize
the
channel
signals
to
some
degree.
The
basic
rule
of
thumb
is
that
equalization
should
NOT
be
used
unless
it
is
absolutely
necessary.
Always
pul
some
effort
into
proper
microphone
selection,
careful
microphone
placement,
and/or
setting
of
source
instrument
controls
to
achieve
the
desired
sound
before
resorting
to
equali-
zation.
When
you've
set
everything
up
as
best
you
can,
but
still
need
to
modify
a
sound,
then
go
ahead
and
equalize.
Channel
EQ
can
be
most
useful
in
tonally
separating
one
sound
from
another
or
from
a
group.
A
bit
of
extra
HIGH
EQ
added
to
a
guitar
sound,
for
example,
can
give
it
a
bit
more
"bite"
and
help
it
to
stand
out
more
clearly
from
the
background.
Vocals
tend
to
stand
out
nicely
if
given
a
bit
of
boost
in
the
MIDDLE
range.
Speech
generally
benefits
from
a
reduction
in
the
low
frequencies—to
prevent
that
"boomy"
sound
that
occurs
when
the
speaker
gets
too
close
to
the
micro-
phone.
Experimentation
and
experience
will
tell
you
how
much
EQ
is
right
for
different
types
of
sound
Graphic
equalization
has
two
main
uses
in
powered
mix-
ers
like
the
EM2820:
compensation
for
acoustic
defi-
ciencies
in
the
listening
area;
and
feedback
control.
Like
the
channel
equalizers,
the
graphic
equalizer
should
be
left
alone
unless
it
is
absolutely
necessary.
The
more
equalization
you
use,
the
more
phase
deviation
you
in-
troduce
into
the
program
signal,
and
this
can
result
in
an
unnatural
sound.
There
are
many
instances,
however,
in
which
the
listening
area
itself
causes
response
anomalies
due
to
its
acoustic
characteristics.
Large
areas
of
uncovered
glass
or
tiled
floors,
for
example,
are
extremely
effective
reflectors
of
high-frequency
sound.
Sound
produced
in
environments
like
this
can
sound
painfully
sharp,
and
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.
A
bit
of
reduc-
tion
in
the
low
frequencies
can
help
to
make
the
sound
more
intelligible.
Note
that
in
almost
all
cases
good
equalization
practice
demands
a
cut
in
the
offending
frequency
range
rather
than
a
boost
in
ranges
where
response
is
lacking.
The
graphic
equalizer
can
also
be
used—although
to
a
limited
degree—for
feedback
control.
Proper
microphone
placement
is
the
primary
tool
for
prevention
of
feed-
back,
but
this
can
be
extremely
difficult
if
you're
work-
ing
in
a
tight
stage
area.
Simply
cut
response
in
the
frequency
range
where
the
feedback
is
occurring
(this
wil
have
to
be
found
by
experimentation).
This
will
compromise
the
overall
frequency
response
of
the
pro-
gram,
but
it's
better
than
facing
the
possibility
of
squeal-
ing
feedback
in
the
middle
of
an
important
performance.
A
BASIC
SYSTEM
Monitor
Speaker
Synthesizer
Microphone
Main
speaker
for
left
channel
Main
speaker
for
right
channel
Eee
co
|
[cassette
Recorder
Gu
(on
=
O
kd
MAIN
SPEAKER
for
Leh
PAD
MAIN
SPEAKER
kel
for
R
ch
EXTERNAL
EFFECTS
DEVICE
ps
EE
AA
e
POWER
AVP
|
1
Hen
ees
|?
EM
R
PAN
H
4
H
1
STEREO
BLS
R
+
EFFECT
SEND
d
|
aus
WONTORBUS
| |
TAPE
IN
TAPE
TO
MONTOR
Wi
?
REC OUT
L
H
DL
A
mi
-
MONITOR
10
CASSETTE
RECORDER
|
POWER
AMP
SPEAKER.
GENERAL
SPECIFICATIONS
MAXIMUM
OUTPUT
POWER
200
W
+
200
W
&
4
ohms
0
5
%
(THD)
at
1
kHz
120
W
+
120
WO
8
ohms
0
5
%
(THD)
at
1
kHz
MAXIMUM
OUTPUT
LEVEL
+
20
dB
(MON
OUT)
&
600
ohms
0.5
%
at
1
kHz
+
20
dB
(EFF
SEND)
E
10
kohms
0
5
%
at
1
kHz
TOTAL
HARMONIC
DISTORTION
(CH
fader
at
nominal
level)
Less
than
0
3
%
20
Hz
—
20
kHz
O
100
W/4
ohms
(MIC
IN
to
SP
OUT)
Less
than
0
2
%
20
Hz
—
20
kHz
@
+
4
dB/600
ohms
(MIC
IN
to
ST
OUT,
MON
OUT)
FREQUENCY
RESPONSE
+1,-
3
dB
20
Hz
—
20
kHz
O
1
W/8
ohms
(SP
OUT)
+
1,
-
3
dB
20
Hz
—
20
kHz
E
+
4
dB/600
ohms
(ST
OUT)
HUM
&
NOISE
(20
Hz
—
20
kHz)
Rs
=
150
ohms,
Input
PAD
=
0
dB
(Input
sensitivity
=
-45
dB)
—
117
dB
Equivalent
Input
Noise
~
70
dB
Residual
output
noise
(SP
OUT)
~
97
dB
Residual
output
noise
(ST
OUT/MON
OUT)
—
105
dB
Residual
output
noise
(EFF
SEND)
-
77
dB
(81
dB
S/N)
ST
OUT
Master
fader
at
maximum
level
and
all
CH
faders
at
mini-
mum
level
—
71
dB
(75
dB
S/N)
ST
OUT
Master
fader
at
nominal
level
and
one
CH
fader
at
nomi-
nal
leve!
—
77
dB
(81
dB
S/N)
MON
OUT
Master
fader
at
maximum
level
and
all
CH
MONITOR
level
controls
at
minimum
level
—
71
dB
(75
dB
S/N)
MON
OUT
Master
fader
at
nominal
level
and
one
CH
MONITOR
level
control
at
nominal
level
-
93
dB
(83
dB
S/N)
EFF
SEND
Master
level
control
at
maximum
level
and
all
CH
EFF
SEND
level
controls
at
minimum
leve!
-
85
dB
(75
dB
S/N)
EFF
SEND
Master
level
control
at
nominal
level
and
one
CH
EFF
SEND
level
control
at
nominal
level
CROSSTALK
(at
1
kHz)
60
dB
adjacent
input
channels
60
dB
input
to
output
MAXIMUM
VOLTAGE
GAIN
82
dB
MIC
IN
to
SP
OUT
55
dB
MIC
IN
to
ST
OUT
41
dB
MIC
IN
to
REC
OUT
55
dB
MIC
IN
to
MON
OUT
47
dB
MIC
IN
to
EFF
SEND
30
dB
LINE
IN
to
STOUT
30
dB
EFF
RTN
to
ST
OUT
30
dB
EFF
RTN
to
MON
OUT
20
dB
TAPE
IN
to
ST
OUT
20
dB
TAPE
IN
to
MON
OUT
76
dB
MIC
IN
to
SP
OUT(L)
(O
Power
amp
select:
L+R/MON
INPUT
CHANNEL
EQUALIZATION
+
15
dB
maximum
boost
or
cut
in
each
of
three
bands
HIGH
:
10
kHz
shelving
MIDDLE
:
2
kHz
peaking
LOW
:
100
Hz
shelving
GRAPHIC
EQUALIZATION
+
12
dB
maximum
boost
or
cut
in
each
of
seven
bands
125,
250,
500Hz,
1
k,
2k,
4
k,
8
kHz
:
peaking
LIMITER
Input
overload
:
15
dB
INDICATOR
LEDS
POWER
Red
LED
is
lit
when
power
is
"ON"
PROTECTION
Red
LED
is
lit
when
protection
circuitry
is
activated
LIMITER
Red
LED
is
lit
when
limiter
circuitry
is
acti-
vated
PROTECTION
CIRCUIT
Poweron
mute
642
sec
Muting
time
DC
sense
DC
+
2
V
Output
shut
off
PC
limiter
less
than
2
ohms
@
Load
impedance
PHANTOM
POWER
+
48
Voc
is
applied
to
electrically
balanced
XLR
inputs
(via
68
kohms
current
limiting/isolation
resistors)
for
Phantom
powerd
condenser
microphones
POWER
REQUIREMENTS
UL/CSA
model
General
model
120
V
AC
60
Hz
230/240
V
AC
50/60
Hz
POWER
CONSUMPTIONS
UL/CSA
model
400
W
(450
VA)
General
model
400
W
DIMENSIONS
(W
x
H
x
D)
500
x
172
x
550
mm
(19-11/16"
x
6-3/4"
x
21-5/89)
WEIGHT
19
5
kg
(43
lbs)
*
OdB=0775
Vrms
*
Specifications
and
appearance
subject
to
change
without
notice
11
INPUT
CHARACTERISTICS
a
input
Level
L
Mpu,
Teraina
PAD
peneira
with
Nominal
Sensitivity
a
Max.
before
clip
seen
Ta
en
EE
BASA
BRENT
`
en
EFFECTS
RETURN
(L,
R)
10
kohms
600
ohms
Lines
|
-
26
dB
(38.8
mV)
|
-
20
dB
(775
mV)
|
+
10
dB
(2.45
V)
Phone
Jack
TAPE
IN
(L,
R)
10
kohms
600
ohms
Lines
|
—
16
dB
(123
mV)
|
~
10
dB
(245
mV)
|
+
15
dB
(4.36
V}
RCA
Pin
Jack
maximum
gain.
OUTPUT
CHARACTERISTICS
(1)
Sensitivity
is
the
lowest
level
that
will
produce
a
full
power
output,
or
the
nomina!
output
level
when
the
unit
is
set
to
(2)
XLR-type
connectors
are
balanced;
Phone
Jacks
and
RCA
Pin
Jacks
are
unbalanced.
3)
In
these
specifications,
when
dB
represents
a
specific
voltage,
0
dB
is
referenced
to
0.775
Vrms.
Output
Terminals
pasea]
ici
o
Poe
nice
Connector
In
Mixer
SPEAKER
OUT
(L,
R)
008
ohms
Å
nha
speakers
HOW
|
EE
AEE
8
ohms
speakers
120W
|
120W
ST
OUT
(L,
R)
150
ohms
600
ohm
lines
+
4
dB
(1.23
V)
Phone
Jack
MONITOR
OUT
150
ohms
500
ohm
lines
+4
dB
(1.23
V)
Je
20
dB
(7.75
V)
Si
Phone
Jack
EFFECTS
SEND
150
ohms
10
kohm
lines
-
10
dB
(245
mV)
+
20
dB
(7.75
V)
Phone
Jack
REC
OUT
(L,
R)
800
ohms
10
kohm
lines
-
10
dB
(245
mV)
|
+20
dB
(775V)
RCA
Pin
Jack
(1)
All
connectors
are
unbalanced.
(2)
In
these
specifications,
when
dB
represents
a
specific
voltage,
O
dB
is
referenced
to
0.775
Vrms.
12
LIMITER
OPERATION
The
LIMITER
protection
circuitry
is
activated
when
the
maximum
power
rating
of
the
SP
OUT
signal
Oe,
200W
into
4
ohm
loads)
is
exceeded.
The
LIMITER
is
effec-
tive
to
15
dB
overrange.
When
the
signal
is
less
than
15
dB
overrange,
the
LIMITER
activates
and
the
output
signal
is
sent
to
SP
OUT
with
minimal
distortion.
How-
ever,
when
the
power
of
the
input
signal
is
greater
than
15
dB
overrange,
the
LIMITER
is
no
longer
as
effective
and
the
signal
delivered
to
SP
OUT
will
become
dis-
torted.
OUTPUT
(W)
TROUBLESHOOTING
INPUT
-
OUTPUT
(LIMITER)
RESPONSE
INPUT
-
THD
(LIMITER)
RESPONSE
INPUT(-20
dB,
Rs=6000)
—
SP
OUT(4
0)
GEO:
flat
CH
VOLUME
and
MASTER
volume:
Max
Frequency:
1
kHz
THD
[%]
-40 -30
-20 -10
H
10
20
INPUT
LEVEL
(dB)
The
following
table
lists
the
main
causes
of
abnormal
operation
and
the
corrective
measures
required,
as
well
as
the
protective
circuit
operation
in
each
case.
Indicator
display
Probable
cause
Remedy
Sound
is
distorted
Input
signal
strength
is
too
high
Limiter
overrange
protection
(+15dB)
has
been
exceeded
Turn
the
channel
VOLUME
control
counter-
clockwise
to
decrease
the
input
signal
level
or
decrease
the
output
level
connected
to
the
INPUT
jacks.
The
amplifier
load
is
excessive.
Use
a
speaker
system
with
the
correct
load
impedance.
(Refer
to
page
8
for
details.)
PROTECTION
indicator
is
lit
and
no
sound
comes
from
the
speakers
A
DC
voltage
of
+/-2V
or
greater
was
generated
in
the
power
ampli-
fier's
output
circuit.
Ee
Consult
your
dealer
or
nearest
Yamaha
service
center.
13
BLOCK
&
LEVEL
DIAGRAM
3
5
2
we
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52
É
BS
E
Pz
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sa
EE
REC
OUT
L
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tes
kV
r
ST
OUT
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deat
o
HIT
MASTER
B
FADER
L
tren
cup
CH
INPUT
1-8
PAD
10/1503)
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SP
OUT
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BEY
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(FY
Unit:
mm
(inch)
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