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Categories Pro Audio Gear PA Mixers Yamaha MG20
Categories Pro Audio Gear PA Mixers Rolls MX153
Categories Pro Audio Gear PA Mixers Rolls RM69
Categories Pro Audio Gear PA Mixers Presonus Studiolive RM32AI
Categories Pro Audio Gear PA Mixers QSC Touchmix 16 Digital Mixer
Categories Pro Audio Gear PA Mixers QSC Touchmix8 Digital Mixer
Categories Pro Audio Gear PA Mixers Soundcraft UI12
Categories Pro Audio Gear PA Mixers Soundcraft UI6
Categories Pro Audio Gear PA Mixers Yamaha TF1
Categories Pro Audio Gear PA Mixers Yamaha EMX5
Presonus Studiolive RM32AI
QSC Touchmix 16 Digital Mixer
- Yamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.
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Touch Operation for Intimate Control
Refined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.
Touch & Turn Knob Offers Extra Control Precision
When you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.
Traditional Overview and Selected Channel Interfaces
Like the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.
Effective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.
1-knob COMP™ & 1-knob EQ™: One Knob to Dial In the Ideal Sound
An experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.
GainFinder™ Supports Precision Gain Setup
Gain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.
The familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.
QuickPro Presets™ Provide Instant Access to Pro Sound Setups
The Yamaha R&D team developed a selection of optimized QuickPro Presets™ for a wide variety of microphones and output equipment by working in collaboration with well-respected engineers and major microphone manufacturers such as Audio-Technica, Sennheiser, and Shure. With these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings. For input channels we prepared more than 100 presets that range from vocals to drum sets. All the presets were precisely tuned by using a wide range of actual microphones and instruments. For output channels we developed presets for a variety of speaker systems and in-ear monitors with several variations to match different environments and room sizes. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets™ providing a super-streamlined way to tweak your sound. In addition to the onboard presets, new QuickPro Presets™ will be added to the Yamaha Pro Audio website, so be sure to check for updates.
Comment from Audio-Technica Corporation
“Each Audio-Technica microphone is painstakingly designed to give a truly accurate reproduction within the application it has been selected for. We strive to provide the best possible tools allowing the user to realise the expression of their work. Collaborating closely with the TF engineers on the instrument specific presets means that we can be sure our microphones deliver their best performance, while leaving the user free to focus on the creativity and character of the production.”
Comment from Sennheiser
“The presets in the Yamaha TF series digital mixers provide users with an accurate indication of how to set the EQ for a wide variety of instrument/microphone combinations. These preset functions give the sound technician a solid basis to start from. All that is needed is to adapt the EQ-ing to the specific room and the instruments.”
Comment from Shure
“We’re thrilled to be offering QuickPro presets of our most popular SM, Beta, KSM and PG Alta microphones in the new TF mixer. When you combine Shure’s 90 years of microphone experience with the versatile new TF digital mixer and exceptional Yamaha speakers, these presets allow engineers at any level of experience to leverage our combined technical expertise for quick, simple and effective sound checks and performances that sound amazing. Engineers can focus on mixing great quality audio instead of chasing problems. It’s an incredibly powerful solution.”
Two Scene Memory Banks
The scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.
The TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.
Panel Layout Maximizes Workflow Efficiency
Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.
Comprehensive Fader Bank section
Two INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.
DCA Roll-out Enhances Group Control
When the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.
Channel Name and Color
A display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.
Faders Provide a Clear View of All Inputs
The TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.
SENDS ON FADER section
The SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.
Advanced Design Promotes Smooth, Comfortable Operation
The upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.
Other Features for Efficient Workflow
- USER DEFINED KNOBS section: Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.
- USER DEFINED KEYS section: Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.
- MUTE section: Multiple inputs or effects can be muted with a single operation.
- FX section: A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.
- ST IN section: In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.
* When using a USB storage device for recording, use a hard disk drive or other high-speed device. (USB memory drives are not guaranteed to function properly.)
Separate software applications that allow wireless mixing, personal monitor mixing, or offline setup of digital live mixing consoles have become fairly common.The TF series goes a step further with three dedicated apps – TF Editor, TF StageMix, and MonitorMix – that feature user interfaces that seamlessly extend the console’s own on any device.
TF Editor Facilitates Offline Editing Plus Showtime Control
The TF Editor application for Windows and Mac computers provides a complete interface for offline editing and setup of TF consoles, with scene and preset management capabilities plus convenient keyboard entry of channel names. In addition to being able to set up the console offline at any convenient location and time, the TF Editor can be used online at the same time as the TF StageMix and MonitorMix applications. A Windows 8 PC with a multi-touch screen can use the same gestures as on the console itself. And if using Wi-Fi, a PC can function as a convenient remote-mixing device. Up to three devices running TF Editor or StageMix can be connected at the same time.
TF StageMix™ for Wireless Mixing
TF StageMix is an iPad application that provides wireless control of TF series consoles, allowing remote mixing from audience seating, in front of floor monitors, or any other listening position. It can also be used at the console as an extension of the console’s own interface. The TF StageMix interface is designed for similar operation and flow to the console display, making it easier than ever to refine the mix from any location.
Personal Monitoring with MonitorMix
The MonitorMix application for the TF Series allows individual wireless AUX mixing from up to 10 iPad, iPhone, or iPod touch, or Android devices simultaneously. Each performer can have convenient control over the AUX buses assigned to them, without having to deal with complex settings or parameters. They can also create personal Group settings for even easier adjustment; all levels on just one fader, for example. Since up to three devices running TF Editor or StageMix and up to 10 devices running MonitorMix can be connected at the same time, even large bands can have the personal control they need, reducing demands on the sound engineer.
A Natural Sound Foundation with Extra Creative Freedom
Faithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.
Recallable D-PRE™ Microphone Preamplifiers
The TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.
8 Powerful Processing/Effect Units and More…
In addition to channel processors, TF consoles feature eight powerful processing/effect units. All the units feature the same type of SPX processors that have become standards in recording and live sound applications, offering 19 programs ranging from reverb and delay, through modulation effects such as flanger and chorus, to multiband compression. With two units of global FX the panel EDIT key opens the effect parameter display where detailed parameters can be adjusted instantly. The remaining six Ins FX are available in the AUX 9/10~19/20 master channels for additional signal control ie. managing levels for in-ear monitoring, or controlling output delay for remotely located speakers using a delay. If more than two Global FX units are required, these Ins effects can be used as additional SEND/ RETURN effects by assigning them to the main stereo bus. The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback. These GEQ can also be assigned to the physical faders for more detailed fine tuning.
Various mix to maultiple speaker systems -Matrix Out Channels with Delay-
Four matrix out channels with delay parameters that are ideally suited to setting up delay compensation for live sound speaker systems at large venues, installations where separate mixes are fed to a main hall and lobby, and many other situations that require some degree of delay compensation.
Additional Output Delay for Ins FX
TF V2.5 also includes a simple Output Delay that can be used as an Ins FX on the AUX 9/10 ~ AUX 19/20 buses to manage the timing of signals sent to speakers at different locations for improved intelligibility and clarity.
Nuendo Live multi-track live recording software is bundled.
Steinberg’s Nuendo Live multi-track live recording software is bundled with TF series digital mixing consoles. Nuendo Live multi-track recording software is ideal for use in live sound applications, from club gigs to concert halls and festivals. It offers simple operation that is an advantage in busy live sound situations, high reliability, and a comprehensive range of features that provide professional performance and efficiency. Not only multi-track recording, Nuendo Live offers a virtual sound check when the performers aren’t available. Many users will benefit from the advanced multi-track recording and virtual sound check capabilities that this powerful combination of hardware and software provides.
*Please note - USB thumb drives are not supported by TF for recording purposes. Please refer to this link for compatible hard drives.
A High-performance Stagebox Solution that’s Simple to Set Up
The natural, musical sound that was a key element of the TF Series design policy is carried on without compromise in the Tio1608-D I/O Rack (details on following page). Mechanical construction, circuit board layout, power supply, grounding, and parts selection have all been executed with meticulous attention to detail and quality, and exhaustive performance and listening tests were carried out at each stage of development. For networking the same Dante protocol implemented in higher end Yamaha digital consoles is used for precise synchronization, low latency, low jitter, and high sample accuracy.In addition to superior performance, a Tio1608-D stage box system can be set up in just three easy steps.
Tio1608-D I/O Rack
The Tio1608-D is a Dante equipped I/O rack with 16 microphone/line inputs and 8 line outputs. The Tio1608-D preamplifiers can be remotely controlled from a TF series console. Connection from an on-stage Tio1608-D to a TF console at the mixing position only requires a CAT5e LAN cable for high-quality low-latency audio transfer. No bulky, heavy multi-cables and connector boxes are required. What’s more, basic patches are pre-programmed for fast, easy setup. Up to three Tio1608-D units can be connected simultaneously, providing a high-performance, high capacity stage box system with as many as 48 inputs and 24 outputs. The network connections can be daisy-chained when Tio1608-D units are used with a TF series console, eliminating the need for network switches.
*Tio1608-D is scheduled to begin shipping in Spring 2016.
NY64-D Audio Interface Card
The NY64-D is an I/O expansion card for TF series consoles that allows transmission and reception of up to 128 channels (64 in/64 out) of uncompressed 48 kHz 24 bit digital audio data via a Dante™ audio network.Used in conjunction with the Tio1608-D I/O it becomes possible to create a versatile stage box system with up to 48 inputs and 24 outputs.
*NY64-D is scheduled to begin shipping in Spring 2016.
TF1 Only: Rack Mountable with Optional RK5014
The RK5014 Rack Mount Kit can be used to mount the TF1 console in a standard 19-inch EIA equipment rack of the type commonly used in live sound, studio, and installed applications.
*14units are needed for the TF1 console alone. Considering the cable connections, 16units are recommended.
- 17 motor faders (16 channels + 1 master)
- 40 input mixing channels (32 mono + 2 stereo + 2 return)
- 20 Aux buses (8 mono + 6 stereo) + Stereo + Sub
- 8 DCA groups with Roll-out
- 16 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs
- 16 analog XLR outputs
- 34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device
- 1 expansion slot for NY64-D audio interface card
Get Serious About Your Sound
The new EMX7 and EMX5 were designed specifically for musicians, performers, or public speakers who put a premium on sound quality and convenient operation, and are ready to take their sound reinforcement to the next level. Despite their compact construction, only speakers and a microphone are required to configure a fully functioning, extremely portable, and reliable sound system with all the tools you need to mix, process, and deliver your audio just the way you want, anywhere you want.
Features
- Powerful & High Efficiency Class-D Amplifier
- Robust But Extremely Portable Design
- Easy Setup, Easy Operation
- Complete Range of Input & Output Channels
- Speaker Processor and Preset (EMX7 only)
- Onboard Feedback Suppressor
- 3-band Equalizer Control
- Flex 9 Graphic Equalizer (EMX7 only)
- 1-Knob Master EQ™ (EMX5 only)
- 1-knob COMP
- Rack-Mounting
- Comprehensive, Professional Effects and Signal Processing
- Flexible Speaker Connectivity
- Internal Universal Power Supply
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Powerful & High Efficiency Class-D Amplifier
The EMX7 and EMX5 models feature a built-in high-efficiency power amplifier of 2 x 710W and 2 x 630W of output power respectively. Despite their low power consumption, these amps are capable of very high volume output, yet still manage to remain surprisingly lightweight. Both models also come equipped with an onboard overload protection function to improve reliability and prolong component life and performance quality.
Robust But Extremely Portable Design
The EMX7 and EMX5 benefit from a robust and portable design with a rugged, impact-resistant, powder-coated metal chassis geared towards extended operation and road usage. Large handles on the front and back of the enclosure make it extremely portable, and also help to protect knobs and terminals on the surface of the chassis from impact or pressure during transport.
Easy Setup, Easy Operation
With their intuitive, user-friendly architecture, the EMX7 and EMX5 can be setup and operated quickly and easily by users with a fundamental understanding of sound reinforcement. Their versatile enclosure design allows users to choose from a variety of vertical or horizontal placements depending on the type of application. From a tabletop, floor, or installation environment no matter used on a tabletop or from a seated position with the mixer placed on the floor.
Complete Range of Input & Output Channels
Both the EMX7 and EMX5 are equipped with four mono input channels and four mono/stereo input channels, allowing up to 8 microphones, and line-level devices such as keyboards and portable playback device to be connected to each channel. In addition, channel 4 can be used with Hi-Z inputs to connect instruments such as guitars or basses directly. Each model is also equipped with 2 AUX SEND connections for a monitoring system or external effect devices, REC OUT unbalanced RCA pin output jacks to connect an external recorder, and STEREO OUT TRS phone jacks to output the mixed stereo signal.
Speaker Processor and Preset (EMX7 only)
The speaker processor function allows you to select an appropriate setting to match the particular speakers you’re using. It features presets specifically tuned for each model in Yamaha’s extensive lineup of passive speakers, including CBR, Club, A and R series. This allows users to optimize speaker performance and save even more time during system setup. It also includes a bass boost function that can be enabled to significantly bring out the lower frequencies.
Onboard Feedback Suppressor
Few things make a live performance or speaking engagement take a negative turn like the sudden, uncomfortable, and often embarrassing howling of unwanted feedback. EMX7/5 come equipped with a Feedback Suppressor that utilizes a unique Yamaha digital technology to instantly eliminate annoying feedback with the single switch of a button, which utilizes a seven-band notch filter.
3-band Equalizer Control
With individual knobs you can adjust the [HIGH], [MID], and [LOW] audio frequencies. You can operate instantly turning the control to amplify (boost) and attenuate (cut) the corresponding frequency band.
Flex 9 Graphic Equalizer (EMX7 only)
EMX7 is equipped with Flex-type graphic equalizer (Flex9GEQ) that allows you to select up to nine bands out of a total of 31 for fine tuning ±15 dB.
1-Knob Master EQ™ (EMX5 only)
EMX5’s 1-Knob Master EQ™ lets you apply optimized EQ settings with the simple turn of a knob. The SPEECH setting is geared towards meetings, seminars, or conferences with a limited lower end for clear, defined speech; MUSIC offers a more balanced sound tailored to acoustic or band performances; and BASS BOOST is ideal for DJ performances or audio playback that puts a priority on emphasizing the base sound.
1-knob COMP
EMX7/5 is equipped with the popular 1-knob COMP function used in MGP and MG series models. By simply operating a single control, it is possible to get optimal compression for vocals and instruments. As the [COMP] control is turned to the right, the threshold, ratio, and output gain are adjusted simultaneously.
Rack-Mounting
EMX7/5 can be mounted onto a 19-inch rack by using the RK-EMX7 (rack-mount kit) sold separately.
Comprehensive, Professional Effects and Signal Processing
EMX7/5 are equipped with a powerful, comprehensive DSP section that provides a total of 24 different effects that are in the same league as our famed SPX effect processor series used by professionals. It is possible to add reverb and delay effects that simulate the sound of different performance environments, such as concert halls and small clubs.
Flexible Speaker Connectivity
EMX7/5 are equipped with speaker jacks which can be used with both TS phone and speakON plugs.
Internal Universal Power Supply
EMX7/5 have a highly-efficient internal universal power supply, then offer worry-free operation in any region around the globe - even in environments prone to potentially damaging power fluctuations. An internal power supply also simplifies rack mounting of the console for installed applications, eliminating the need for a bulky adapter or additional connections.
Outline EMX7 EMX5 I/O Inputs TOTAL 12 channels : 8 Mono (MIC/LINE), 4 Stereo (LINE) TOTAL 12 channels : 8 Mono (MIC/LINE), 4 Stereo (LINE) Phantom power +48 V +48 V Outputs SPEAKERS [A, B], AUX1 SEND, AUX2 SEND, STEREO OUT [L, R], REC OUT [L, R] SPEAKERS [A, B], AUX1 SEND, AUX2 SEND, STEREO OUT [L, R], REC OUT [L, R] Control and others FOOT SWITCH : Effect Mute on/off FOOT SWITCH : Effect Mute on/off Bus Stereo: 1, AUX: 2 (Including FX) Stereo: 1, AUX: 2 (Including FX) Input Channel Function PAD 30 dB (CH1-4) 30 dB (CH1-4) Hi-Z Supported (CH4) Supported (CH4) HPF 80 Hz, -12 dB/oct. (CH1–3) 80 Hz, -12 dB/oct. (CH1–3) COMP 1-knob COMP (CH1–4) 1-knob COMP (CH1–4) EQ HIGH 10 kHz +15 dB / -15 dB (Shelving) 10 kHz +15 dB / -15 dB (Shelving) EQ MID 2.5 kHz +15 dB / -15 dB (Peaking) 2.5 kHz +15 dB / -15 dB (Peaking) EQ LOW 100 Hz +15 dB / -15 dB (Shelving) 100 Hz +15 dB / -15 dB (Shelving) On-board processors DSP SPX Algorithm 24 programs, Feedback suppressor, Graphic equalizer, Speaker processor SPX Algorithm 24 programs, Feedback suppressor, Master EQ, Monitor EQ On-board amplifiers Maximum output power @4ohms 1kHz THD+N less than 10% (CEA2006) : 710 W + 710 W, 1kHz THD+N less than 1% (CEA2006) : 600 W + 600 W 1kHz THD+N less than 10% (CEA2006) : 630 W + 630 W, 1kHz THD+N less than 1% (CEA2006) : 500 W + 500 W Maximum output power @8ohms 1kHz THD+N less than 10% (CEA2006) : 500 W + 500 W, 1kHz THD+N less than 1% (CEA2006) : 400 W + 400 W 1kHz THD+N less than 10% (CEA2006) : 460 W + 460 W, 1kHz THD+N less than 1% (CEA2006) : 370 W + 370 W Level Meter 2 × 12 points LED meter (-30, -25, -20, -15, -10, -6, -3, 0, +3, +6, +10, PEAK) 2 × 7 points LED meter (-20, -10, -6, 0, +6, +10, PEAK) General specifications EMX7 EMX5 Frequency response Input to SPEAKERS : +1 dB/-3 dB (40 Hz to 20 kHz), Input to STEREO OUT, AUX1 SEND, AUX2 SEND : +0.5 dB/-1 dB (20 Hz to 20 kHz) , refer to the nominal output level @ 1 kHz Input to SPEAKERS : +1 dB/-3 dB (40 Hz to 20 kHz), Input to STEREO OUT, AUX1 SEND, AUX2 SEND : +0.5 dB/-1 dB (20 Hz to 20 kHz) , refer to the nominal output level @ 1 kHz Total harmonic distortion Input to SPEAKERS: MIC/LINE =LINE (CH1–4): 0.1% @ 10 W (40 Hz to 20 kHz), 0.04% @ 65 W (1 kHz) ; Input to STEREO OUT, AUX1 SEND, AUX2 SEND: MIC/LINE =LINE (CH1–4): 0.02% @ +14 dBu (20 Hz to 20 kHz), 0.007% @ +20 dBu (1 kHz), (THD+N, measured with 22 kHz LPF) Input to SPEAKERS: 0.1% @ 10 W (40 Hz to 20 kHz), 0.05% @ 50 W (1 kHz) ; Input to STEREO OUT, AUX1 SEND, AUX2 SEND: 0.03% @ +14 dBu (20 Hz to 20 kHz), 0.007% @ +20 dBu (1 kHz), (THD+N, measured with 22 kHz LPF) Hum & noise level Equivalent input noise -117 dBu (Noise is measured with A-weighting filter) -117 dBu (Noise is measured with A-weighting filter) Residual output noise Input to SPEAKERS : -70 dBu(40Hz to 20kHz, STEREO MASTER LEVEL: min); Input to STEREO OUT, AUX1 SEND, AUX2 SEND : -82dBu(20Hz to 20kHz, STEREO MASTER LEVEL: min) (Noise is measured with A-weighting filter) Input to SPEAKERS : -70 dBu(40Hz to 20kHz, STEREO MASTER LEVEL: min); Input to STEREO OUT, AUX1 SEND, AUX2 SEND : -82dBu(20Hz to 20kHz, STEREO MASTER LEVEL: min) (Noise is measured with A-weighting filter) Crosstalk -85 dB (1 kHz, Measured with 1 kHz band pass filter) -85 dB (1 kHz, Measured with 1 kHz band pass filter) Protection circuit Load protection DC-fault DC-fault Amplifier protection Over heat protection, Over current protection, Integral power protection Over heat protection, Over current protection, Integral power protection Power supply protection Over heat protection, Over current protection Over heat protection, Over current protection Power requirements AC 100-240V, 50Hz/60Hz AC 100-240V, 50Hz/60Hz Power consumption 45 W (Idle) / 250 W (1/8 Power) 42 W (Idle) / 210 W (1/8 Power) Dimensions W 465 mm (18 5/16") 465 mm (18 5/16") H 308 mm (12 1/8") 308 mm (12 1/8") D 325 mm (12 13/16") 325 mm (12 13/16") Net weight 9.5 kg (20.9 lbs) 9.5 kg (20.9 lbs) Accessories Owner’s Manual, Technical Specifications, AC power cord (2.5 m) Owner’s Manual, Technical Specifications, AC power cord (2.5 m) Options Foot switch: FC5, Rack-mount brackets: RK-EMX7 Foot switch: FC5, Rack-mount brackets: RK-EMX7 Others Operating Temperature : 0 to +40℃ Operating Temperature : 0 to +40℃ (0 dBu = 0.775 Vrms, Output impedance of signal generator (Rs) = 150 Ω All level controls are at their maximum position if not specified.)
Input Characteristics
Input Jack MIC/LINE Hi-Z Actual Load Impedance For Use with Nominal Input Level Connector Sensitivity *1 Nominal Level (▼ Position) *2 Max. Before Clip CH 1–4 XLR MIC - 3 kΩ 50–600 Ω Mics -60 dBu (0.775 mV) -43 dBu (5.48 mV) -15 dBu (138 mV) Combo jack *3 (Balanced) LINE - -30 dBu (24.5 mV) -13 dBu (173 mV) +15 dBu (4.36 V) Phone MIC - 8 kΩ 600 Ω Lines -50 dBu (2.45 mV) -33 dBu (17.3 mV) -5 dBu (436 mV) LINE - -20 dBu (77.5 mV) -3 dBu (548 mV) +25 dBu (13.8 V) CH 4 (Hi-Z) Phone MIC ON 1 MΩ 10 kΩ Lines -50 dBu (2.45 mV) -33 dBu (17.3 mV) -5 dBu (436 mV) Phone jack *4 (Unbalanced) LINE -20 dBu (77.5 mV) -3 dBu (548 mV) +20 dBu (7.75 V) CH 5/6, 7/8 XLR - - 3 kΩ 50–600 Ω Mics -60 dBu (0.775 mV) -43 dBu (5.48 mV) -15 dBu (138 mV) XLR-3-31 *5 (Balanced) Phone 10 kΩ 600 Ω Lines -20 dBu (77.5 mV) -3 dBu (548 mV) +25 dBu (13.8 V) Phone jack *4 (Unbalanced) CH 9/10, 11/12 XLR - - 3 kΩ 50–600 Ω Mics -60 dBu (0.775 mV) -43 dBu (5.48 mV) -15 dBu (138 mV) XLR-3-31 *5 (Balanced) Pin 10 kΩ 600 Ω Lines -8 dBu (316 mV) +10 dBu (2.45 V) +25 dBu (13.8 V) RCA pin (Unbalanced) CH 11/12 Mini jack - - 10 kΩ 600 Ω Lines -8 dBu (316 mV) +10 dBu (2.45 V) +25 dBu (13.8 V) Stereo mini jack *6 (Unbalanced) (0 dBu = 0.775 Vrms)
*1 Sensitivity is the lowest level that will produce an output of +4 dBu (1.228 V) or the nominal output level when the unit is set to maximum gain. (All level controls are at their maximum position.)
*2 Level controls setting : Channel level controls are at their t position. Master level controls are at their maximum position.
*3 1&Sleeve = GND, 2&Tip = HOT, 3&Ring = COLD
*4 Tip = Signal, Sleeve = GND
*5 1 = GND, 2 = HOT, 3 = COLD
*6 Tip = LEFT, Ring = RIGHT, Sleeve = GND
Output Characteristics
Output Jack Actual Source Impedance For Use with Nominal Output level Connector Nominal Max. Before Clip STEREO OUT L, R 600 Ω 10 kΩ Lines +4 dBu (1.228 V) +20 dBu (7.75 V) Phone jack *1 (Impedance balanced) AUX SEND 1, 2 600 Ω 10 kΩ Lines +4 dBu (1.228 V) +20 dBu (7.75 V) Phone jack *1 (Impedance balanced) REC OUT L, R 600 Ω 10 kΩ Lines -10 dBV (0.308 V) +18 dBV (7.75 V) RCA pin (Unbalanced) (0 dBu = 0.775 Vrms 0 dBV = 1.00 Vrms)
*1 Tip = HOT, Ring = COLD, Sleeve = GND
Speaker Output Characteristics
Output Jack Actual Source Impedance For Use with Nominal Output level Connector 1 kHz THD+N < 1% (CEA2006) 1 kHz THD+N < 10% (CEA2006) SPEAKERS A, B < 0.1 Ω 4 Ω Speakers 600 W (EMX7),
500 W (EMX5)710 W (EMX7),
630 W (EMX5)speakON NL4 *1 Phone jack *2 8 Ω Speakers 400 W (EMX7),
370 W (EMX5)500 W (EMX7),
460 W (EMX5)(0 dBu = 0.775 Vrms)
*1 1+ = Positive, 1- = Negative
*2 Tip = Positive, Sleeve = Negative