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2007 www.yamahaproaudio.com www.yamaha.com/proaudio Table of Contents Band and Entertainment 4 Band Rehearsal 1 4 Band Rehearsal 2 4 Innovative Solutions for Live Sound Piano Bar 5 Sports Bar 5 Small Stage 6 Large Outdoor Stage 7 Compact Digital Solution for 2-Band Events 8 T he term "live sound" covers a lot of ground, and no two applications are Digital Live Recording 9 Festival 10 exactly alike. You might only need to amplify a single microphone for a Country Fair 11 Church 12 business meeting, or mix many sources and deliver several kilowatts of power at Small Church 12 Mid-sized Church 12 an outdoor concert. For both these scenarios, and everything in between, Party and DJ 14 Yamaha has the gear you need to get the job done with maximum quality, Live Music at Home 14 Wedding Ceremony 14 efficiency and ease. Dinner Presentation 16 Outdoor Dance Event 17 School and Business 18 When choosing equipment for your application, you'll need to consider the Acoustic Music 18 Conference Room 18 following points: Lecture Hall 19 Gymnasium 19 Point of Sale 20 A complete PA system designed from the start for portability and convenience 21 1. Scale PRODUCT Line Up Mixers 22 24 How big is your audience? How big is the venue or area you need to cover? For larger setups, you MG Series 24 EMX512SC/312SC/212C 26 will need to have enough speakers and power to cover the area, Smaller venues with space EMX5014C/EMX5016CF 26 limitations require equipment that can provide the required functionality and performance without 01V96 26 Signal Processor 28 getting in the way. SPX2000 28 Q2031B 28 Power Amplifier 28 P Series 28 2. Sources SR Speakers Club V Loudspeakers S Series 29 29 Do you only need one or two microphones for speech or vocals? Will you be supporting live music Club V Loudspeakers C Series 29 using numerous microphones and line-level inputs? Do you need to handle recorded sound effects BR Series Speakers 30 MSR400 & MSR800W 31 or background music? All these factors will determine the size and type of mixer you'll need, as well MSR100 32 MS101III 32 as monitoring and output equipment (equalizers, power amplifiers, and speakers). STAGEPAS Series 33 Powered Monitor Speakers 34 HS Series Speakers 34 MSP STUDIO Series Speakers 34 3. Indoors or Outdoors Peripheral 35 The requirements for indoor and outdoor sound can be quite different. While power, coverage and Tips 1 [PA Basics], [Mixer Essentials] 13 sound quality are relatively easy to handle indoors, these factors often require extra care outdoors Tips 2 [1.Cable Types], [2.Connector Types] 15 Tips 3 [Selecting PA Equipment] 25 where there are no room reflections to reinforce the sound and your audience may be spread out Simple Steps To Better Sound 1 [Gain is the key to level control.] 16 Simple Steps To Better Sound 2 [Connection and power switching order.] 20 over a large area. You also have nature to deal with when working outdoors, so you need a setup Simple Steps To Better Sound 3 [Feedback control.] 20 that can withstand less-than-favorable weather conditions. Simple Steps To Better Sound 4 [Why use monitor speakers?] 30 Simple Steps To Better Sound 5 [Boosting system power] 31 Topic [An Interview with the EMX Design Team] 27 Band and Entertainment Band and Entertainment Band Rehearsal 1 Piano Bar ■ Sample Application ■ Sample Application A small-scale setup that excels in compactness and portability A small, easy-to-handle system delivering high sound quality Source Source If you rehearse with real drums and other instruments Phone Cable Here's a system that's ideal for small venues hosting Speakon Phone Cable at realistic levels, you'll need some vocal amplification Speakon Phone Cable musical entertainment ranging from solo pianists to Speakon Cable DEC/NO INC / YES EXIT ENTER EXECUTE for well-balanced, productive rehearsals. Even if the jazz trios with a vocalist. The volume may be low, but MICS 1~8 Good Reasons For Choosing Yamaha MICS 1~8 Keyboard Good Reasons For Choosing Yamaha band is relatively quiet, vocalists need to practice with vocalists need solid monitor sound to deliver their best Mixer Mixer microphones and amplified sound if amplification EMX312SC performance. Compression can be a real advantage, EMX512SC EMX312SC • All-in-one model with superior portability. EMX512SC • Built-in digital SPX signal processing makes it easy to will be used on stage. Compression can also help to • Eight microphone inputs. too. In this example, an EMX512SC powered mixer achieve a full, rich vocal sound even in small piano-plus- vocal settings. Stereo graphic EQ provides precise tonal make the vocal sound stand out. This simple system Speaker B • Built-in power amplifier for easy setup. delivers the house sound via a pair of S112V (C112V) shaping capability. featuring the EMX312SC powered mixer, a pair of • One-knob compression for smooth, up-front vocal speakers, while a single SM12V (CM12V) provides Speaker B • Up to eight microphone inputs. A benefit in jazz clubs with sound. limited stage space. BR12 speakers, a SM10V (CM10V) for monitoring, and • Built-in effects add polish to the mix. quality monitor sound. • A rack-mount kit is available for even further space savings. a couple of good microphones is ideal. Speaker A Speaker A • Separate equalization for main and monitor speakers Minimum space requirements, but serious 500 + 500 watt output (into 4Ω). Speaker A Speaker A • Compression helps maintain ideal vocal balance with the band. • FCL helps to keep feedback in check even when the vocalist Speaker moves around. ■ System Chart ■ System Chart BR12 • Up to 8 microphone inputs can handle multiple acoustic Scale-Big Mic: Scale-Big Mic: instruments. • Compact and lightweight with high-power 1 ~ 8 channels output. 1 ~ 8 channels Speaker S112V (C112V) Line: SM10V (CM10V) Line: Four stereo • Small 10-inch monitors chosen to ensure Four stereo • Durable carpet finish takes rough handling in stride. coverage, and supply clear monitor sound to • Compact and lightweight with high power output. Scale: performers. Scale: • An ideal match for mixers that feature YS Rehearsal studio, Jazz club with small Processing. For Speech For Music approx. 30 square For Speech For Music stage SM12M (CM12M) meters BR12 BR12 SM10V Audience: • Small vocal monitor takes up minimum stage space. Audience: (CM10V) 30 ~ 50 people S112V S112V SM12M FRONT L FRONT R MONITOR (C112V) (C112V) (CM12M) 5 ~ 8 people FRONT L FRONT R MONITOR Scale-Small Scale-Small ■ Equipment List ■Equipment List Powered Mixer EMX312SC 1 Powered Mixer EMX512SC 1 Main Speaker BR12 2 Main Speaker S112V (C112V) 2 Monitor Speaker SM10V (CM10V) 1 Monitor Speaker SM12M (CM12M) 1 Band Rehearsal 2 Sports Bar ■ Sample Application ■ Sample Application A compact setup with serious microphone mixing and one-take recording capability A compact system with plenty of stereo inputs Source Source Rehearsals in larger rooms with many musicians Speakon Cable There's no denying that while much of the impact of a XLR Phone Cable require substantial sound support. Here's a system XLR Phone Cable sports event is visual, sound plays a huge role as well. TV/BS/CS Tuner DVD Player CD Player etc. that will comfortably handle multiple sources – full MICS 1–16 Good Reasons For Choosing Yamaha Sports bars that show live or recorded sports on 50" drum-set mic setups, brass sections, and more – while or larger screens have the visual aspect pretty much Mixer Good Reasons For Choosing Yamaha powering four main speakers and two monitors. The EMX5016CF EMX5016CF covered, now here's a sound system that can really • Solid 500 watts + 500 watts power output with Mixer EMX5016CF features 16 input channels and delivers pro-class mixing capability. bring the action to life. And when it's not sports time, MG102C MG102C a healthy 500 watts per stereo channel to four S112V • Advanced one-knob compression for refined it serves as an outstanding BGM system as well. An • Built-in channel compression for smooth mixes. mixes. (C112V) speakers. In this system a pair of powered • FRC (Frequency Response Correction) system MG102C handles the required inputs with room to • Top quality components throughout, MSR400 speakers are used for monitoring. automates room equalization. spare, and a pair of MSR400 powered speakers deliver including reliable Neutrik XLR connectors. • Digital stereo graphic equalizer with presets • Remarkably compact and lightweight. and memory. big, dynamic sound. • Optional BMS-10A Mic Stand Adaptor allows • Multi-band Maximizer enhances musical microphone-stand mounting for easy impact. placement and access. Speaker A Speaker B • Automatic feedback suppression. ■ System Chart AUX SEND 1 AUX SEND 2 ■ System Chart ST OUT L ST OUT R Scale-Big Mic: Scale-Big Mic: Speaker 1 ~ 12 channels S112V (C112V) 1 ~ 4 channels Line: • Compact and lightweight with high Line: power output. Speaker MSR400 Four stereo Four stereo • An ideal match for mixers featuring • Powerful powered speaker that won't get Scale: YS Processing. Scale: drowned out by the cheers of the audience. Four-car garage MSR400 Sports bar with • 400W total, bi-amplified output power (Max). For Speech For Music • Cabinet design allows multiple For Speech For Music hanging or projector Audience: placement options. TV 10 ~ 15 people S112V S112V S112V S112V MSR400 MSR400 • Powered speaker with direct volume Audience: ( C112V) ( C112V) ( C112V) ( C112V) control for monitor applications. 30 ~ 50 people MSR400 MSR400 FRONT L FRONT R MONITORS Scale-Small Scale-Small ■ Equipment List ■Equipment List Powered Mixer EMX5016CF 1 Mixer MG102C 1 Main Speaker S112V (C112V) 4 Powered Speaker MSR400 2 Monitor Speaker MSR400 (Powered) 2 4 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 5 Band and Entertainment Band and Entertainment Small Stage Large Outdoor Stage This small-but-serious system will cover small to medium-sized ■ System Chart Outdoor sound poses some unique problems, and power and speaker ■ System Chart live venues with thoroughly professional quality and versatility. Scale-Big Mic: coverage are of prime importance. The system shown here delivers Scale-Big Mic: 1 ~ 16 channels 1 ~ 24 channels The MG24/14FX mixer offers plenty of input capacity plus dual three kilowatts to FOH via three P5000S power amplifiers and a Line: Line: high-performance signal processors built-in. FOH sound is delivered Four stereo combination of S215V (C215V) full-range speakers and SW218V Four stereo by P5000S and P7000S power amplifiers driving S115V (C115V) Scale: (CW218V) subwoofers. An additional 2.8 kilowatts is allotted for Scale: full-range speakers and SW118V (CW118V) subwoofers, respectively. Medium-size live space with stage monitoring via four P3500S amps and SM15V (CM15V) monitor Large outdoor concert stage For Speech For Music For Speech For Music For monitoring, a pair of SM15Vs (CM15Vs) is powered by a P5000S Audience: speakers. The MG32/14FX console handles the wide range of inputs Audience: 150 ~ 200 people amplifier with a Q2031B equalizer for feedback control. An SPX2000 and signal processing often required at outdoor music events. 500 ~ 1,000 people professional multi-effect processor could be added for additional vocal processing. Scale-Small Scale-Small ■ Sample Application ■ Sample Application Medium-size system for powerful live sound Large-scale support for long-running live events Source Source Speakon Cable Speakon Cable Phone Cable Phone Cable DEC/NO EXIT INC / YES ENTER XLR Cable XLR Cable EXECUTE MICS 1~16 Guitar Amp x 2 Bass Amp Drums Keyboard MICS 1~24 Guitar Amp x 2 Bass Amp Drums Keyboard x 2 Good Reasons For Choosing Yamaha Good Reasons For Choosing Yamaha Mixer M G24/14F X MG24/14FX Mixer MG32/14FX MG32/14FX RETURN1 R • 16 microphone inputs plus four stereo line inputs and built-in RETURN1 R • Ample input and output capacity provides plenty of margin digital SPX effects. for micing and monitoring even for large bands. RETURN1 L RETURN1 L • Plenty of inputs and outputs for versatile system expansion AUX3 AUX5 AUX 1 AUX 2 AUX 3 AUX 4 L ST OUT R MONO AUX 1 AUX 2 ST OUT L R MONO Signal Processor SPX2000 Signal Processor SPX2000 L (MONO) L R Output L (MONO) L R Output • Add full, natural reverb to the vocal sound with the top-rated • Add full, natural reverb to the vocal sound with the top-rated SPX2000 new SPX model. SPX2000 new SPX model. Q2031B Q2031B • Use both channels for feedback control and to deliver the • Use both channels for feedback control and to deliver the optimum monitor sound. optimum monitor sound. Input A B Input A B Input A B Q2031Bx2 Output A B Output A B Output A B Q2031B Power Amp P5000S, P7000S Power Amp P5000S, P7000S • Choose the amplifiers renowned for stable power – the P • Choose the amplifiers renowned for stable power – the P P5000S P5000Sx2 P7000S P5000S Input A B Input A Input A B Series! The P5000S drives the main speakers while the Input A Input A Input A Input A Input A Input A Input A Series! The P5000S drives the main speakers while the P7000S delivers extra power to the subwoofer. P7000S delivers extra power to the subwoofer. P5000S power amplifiers deliver ample power to SM15V (CM15V) A B P5000S A B P7000S Speaker A Speaker B A B A B A B Speaker A Speaker A Speaker A Speaker A monitors. Speaker Speaker S215V, SW218V (C215V, CW218V) S115V, SW118V (C115V, CW118V) • The 15-inch S115V (C115V) woofers deliver plenty of sonic • Taking the extra sound loss usually incurred in outdoor S115V S115V applications into consideration, the dual-woofer S215V ( C 115V ) (C115V) impact while the subwoofer puts out the low end needed for rock 'n roll fidelity. This is an FOH setup that will do justice to (C215V) has been chosen to provide plenty of coverage. And just about any band. the dual-woofer SW218V (CW218V) is used to match the SM15V SM15V (CM15V) (CM15V) SM15V (CM15V) performance of the main speakers. MONITOR • Large 15-inch monitors chosen to ensure coverage, and SM15V (CM15V) S W 1 18V SW118V supply clear monitor sound to performers. • Since the event is outside, monitors with large 15-inch ( C W 1 1 8V) (CW118V) S215V S215V S215V S215V SW218V SM15V SM15V SM15V SM15V woofers are used to ensure solid monitor sound. ( C215V) (C215V) ( C215V) (C215V ) (CW218V ) (CM15V ) (CM15V ) ( CM15V) ( CM15V ) F.O.H MONITOR F.O.H ■Equipment List ■Equipment List Mixer MG24/14FX 1 Speaker S115V (C115V) 2 Graphic EQ Q2031B 1 Mixer MG32/14FX 1 Speaker S215V (C215V) 4 Graphic EQ Q2031B 2 Power Amp P5000S 2 Woofer SW118V (CW118V) 2 Digital Multi Effects SPX2000 1 Power Amp P5000S 4 Woofer SW218V (CW218V) 2 Digital Multi Effects SPX2000 1 Power Amp P7000S 1 Monitor Speaker SM15V (CM15V) 2 Power Amp P7000S 1 Monitor Speaker SM15V (CM15V) 4 6 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 7 Band and Entertainment Band and Entertainment Compact Digital Solution for 2-Band Events Digital Live Recording Large music events featuring two or more bands can involve a ■ System Chart 01V96V2 provides an ideal solution for high performance ■ System Chart large amount of sound reinforcement gear. Here's a compact Scale-Big Mic and Line: digital live recording system. Onboard ADAT in /out allows Scale-Big Mic: Max. 80 channels 1 ~ 12 channels digital system that can handle up to 80 input channels in all high quality connection to computer via audio interface which Scale: Line: while allowing easy switching between completely different band Large events or festivals featuring two has ADAT in/out port. You can record 24-bits at 96 kHz for Two stereo setups. The pair of 01V96V2 digital consoles used provide all the or more bands. Plenty of capacity is pro-quality sound, and all the effects an processing you need Scale: also provided for announcements and effects and dynamics processing you'll need built-in, so you won't are built right into the console so you won't be overloading Central outdoor stage For Speech For Music commentary. For Speech For Music even need outboard processor racks. the computer's CPU with processing tasks. The same system Audience: Audience: 300~500 people can be used for mixdown after the tracks have been recorded. 100 ~ 300 people Scale-Small Scale-Small ■ Sample Application ■ Sample Application Large Festival Featuring Two Bands Digital Recording and Remixing of Live Sound Source Source Phone Cable XLR Cable Optical Cable Phone Cable DEC/NO EXIT INC / YES ENTER FireWire Cable Speakon Cable EXECUTE DEC/NO EXIT INC / YES ENTER DEC/NO EXIT INC / YES ENTER EXECUTE XLR Cable EXECUTE MICS 1~12 Guitar Amp Bass Amp Drums CD Player etc. Good Reasons For Choosing Yamaha MICS 1~12 Guitar Amp Bass Amp Drums Keyboard and synthesizer MICS 13~24 Guitar Amp x 2 Bass Amp Drums Keyboard and synthesizer CD Player etc. Mixer Good Reasons For Choosing Yamaha 01V96V2 • Onboard ADAT in/out allows high quality connection to computer via Mixer Onboard ADAT in/out audio interface. 01V96V2 x 2 01V96V2 01V96V2 Audio Interface • Professional 24-bit/96-kHz recording capability. • With the addition of an MY16 expansion card, two 01V92V2 consoles can be cascaded to provide up to 80 simultaneous inputs. • Top-quality internal effects and signal processing minimizes load on the computer's CPU. • Scene memory allows instant changes for different bands or even different songs. • Compression provided on all channels. MIDI and Signals (Cascade Link) • Compression provided on all channels. • Scene recall capability for quick on-the-fly changes. • MY card slot allows flexible I/O expansion and selection. 01V96V2 OMNI OUT 1 OMNI OUT 2 ST OUT L R Computer OMNI OUT 1 OMNI OUT 2 OMNI OUT 3 OMNI OUT 4 ST OUT L R Power Amp Signal Processor P5000S • The P5000S is used to power the main speakers. YS Processing delivers Q2031B optimum performance from the Club Series speakers. Q2031B Q2031B • Feedback control and monitor EQ. Input A Input A Input A B Input A B A P5000S B A P5000S B Output A B Output A B Speaker Speaker S115V (C115V) MSR400 MSR400 MSR400 • These speakers cover the entire service area from four points on the temporary stage. 15-inch woofers are chosen to ensure solid coverage. • Powerful 400-watt output and outstanding sound quality from compact, lightweight powered speakers. Ideal for front-of-house MSR400 sound as well as monitoring. • Powerful 400-watt output and outstanding sound quality from compact, MSR800W lightweight powered speakers. Ideal for front-of-house sound as well as monitoring. • A perfect sonic and visual match for the MSR400, the MSR800W subwoofer delivers up to 800 watts of power. MSR800W MSR400 MSR400 MSR400 MSR400 S115V S115V S115V S115V MSR400 MSR400 (C115V) (C115V) (C115V) (C115V) F.O.H MONITOR F.O.H MONITOR ■ E q uipment List ■ Equipment List Mixer 01V96V2 2 Monitor Speaker MSR400 4 Mixer 01V96V2 1 Speaker S115V (C115V) 4 Graphic EQ Q2031B 2 Subwoofer MSR800W 1 Audio Interface GO46 2 Monitor Speaker MSR400 2 Speaker MSR400 2 Power Amp P5000S 2 8 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 9 Band and Entertainment Band and Entertainment Festival County Fair This system is designed for optimum sound coverage from a central ■ System Chart County fair type events combine announcements with competitions ■ System Chart stage surrounded by the audience. Special attention must be paid to Scale-Big Mic: and music, requiring substantial sound-reinforcement capability. Scale-Big Mic: 1 ~ 10 channels 1 ~ 24 channels monitoring in this type of situation, so each performer is provided And since the area to be serviced can be quite large, ample power Line: Line: with his or her own monitor speaker. The MG16/6FX console provides Four stereo and coverage are essential. In this system, FOH power is supplied Four stereo ample mixing and signal-processing capability, while dual P5000S Scale: by P5000S amplifiers feeding dual-driver speaker systems for high Scale: power amplifiers driving four S115V (C115V) speakers on stands Central outdoor stage efficiency. A solid 2.8 kilowatts is provided for monitoring via four Temporary outdoor stage. Contests For Speech For Music For Speech For Music being held in front of the stage effectively cover the required area. Audience: SM12V (CM12V) monitor speakers. The MG32/14FX console can with full-time announcements and 100 ~ 500 people easily handle the wide range of sources this type of event can entail. commentator. Live music during breaks in the activities Audience: Scale-Small Scale-Small 500 ~ 1,000 people ■ Sample Application ■ Sample Application Serving the entire area from a temporary central stage A large-scale system to handle everything from announcements to live bands Source Source Speakon Cable Speakon Cable Phone Cable Phone Cable XLR Cable XLR Cable MICS 1~8 Guitar Amp Bass Amp Drums CD Player etc. MICS 1~24 Guitar Amp Bass Amp Drums CD Player etc. Good Reasons For Choosing Yamaha Good Reasons For Choosing Yamaha Mixer Mixer MG16/6FX MG32/14FX MG32/14FX M G16/6FX • Since this is basically an "event," microphones will be required for • A plentiful complement of inputs and outputs. announcements as well as acoustic instruments such as drums. • Pro-class mixing capability with three-band mid-sweep channel EQ. Built-in effects provide considerable functionality in a relatively • Internal digital SPX signal processing offers versatile effect options. simple system. • Four stereo inputs. AUX 1 AUX 2 AUX 3 AUX 4 ST OUT L R ST OUT L R GROUP 1 GROUP 2 GROUP 3 GROUP 4 Signal Processor Q2031B • Use both channels for feedback control and to deliver the optimum monitor sound. Signal Processor Q2031B • Use both channels for feedback control and to deliver the optimum Input A B Input A B monitor sound. Input A B Input A B Output A B Output A B Output A B Q2031B Output A B Q2031B Q2 0 3 1 B Q2031B Power Amp Power Amp P5000S, P3500S P5000S, P3500S P3500S P350 0 S P 3 5 0 0 S P 3 5 0 0 S • The P5000S is used to power the main speakers, and the P3500S P5000S P5000S P3500S P3500S P3500S P3500S • Delivering efficient power to the Club V series speakers are the Input A Input A Input A Input A Input A Input A drives the small stage monitors. YS Processing delivers optimum Input A Input A Input A Input A Input A Input A P5000S for FOH and the P3500S for the monitors. A P5000S B A P5000S B Speaker A Speaker A Speaker A Speaker A performance from the Club Series speakers. Speaker A Speaker A Speaker A Speaker A A B A B Speaker S115V (C115V) Speaker S215V (C215V) • These speakers cover the entire service area from four points on the • Two dual-woofer S215V (C215V) speakers ensure that the program temporary stage. 15-inch woofers are chosen to ensure solid reaches the entire audience in the outdoor application. coverage. An ideal setup for continuous use. SM12V (CM12V) SM12V (CM12V) • Compact 12-inch monitors supply clear monitor sound to • Compact 12-inch monitors put out focused stage monitor sound. performers. S 115V S115V S115V S115V SM12V SM1 2 V SM12V SM12V S215V S215V S215V S215V SM12V SM12V SM12V SM12V (C115V) ( C115V) (C115V) (C115V) (CM12V) (CM12V) (CM12V) (CM12V) ( C215V) ( C215V) ( C215V) ( C215V) (CM12V ) (CM12V) (CM12V) ( CM12V ) F.O.H MONITOR F.O.H MONITOR ■ E q uipment List ■Equipment List Mixer MG16/6FX 1 Speaker S115V (C115V) 4 Mixer MG32/14FX 1 Speaker S215V (C215V) 4 Power Amp P5000S 2 Monitor Speaker SM12V (CM12V) 4 Power Amp P5000S 2 Monitor Speaker SM12V (CM12V) 4 Power Amp P3500S 4 Graphic EQ Q2031B 2 Power Amp P3500S 4 Graphic EQ Q2031B 2 10 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 11 Church Small Church Designed primarily for background music and speech, ■ Sample Application A small-scale system that takes advantage of the room's natural ambience Source Speakon Cable Tips 1 PA Basics this compact, easy-to-handle system is ideal for XLR Cable The term "PA" traditionally stands for "Public Address," and "PA System" refers to an electronic small houses of worship. It's portable and easily MICS 1~6 system for amplifying the voice of a speaker addressing a large crowd or people distributed throughout Good Reasons For Choosing Yamaha re-configurable, so it can easily be adapted to a variety a large building. These days the term is often applied to the main amplification system at events and Mixer MG124C MG124C of programs, indoors or out. An MG124C mixer concerts as well, although such systems are sometimes called "sound reinforcement systems," or • Built-in channel compression delivers enhanced mix offers advanced mixing potential and versatility in a quality. simply "sound systems." space-saving package, and a P3500S power amplifier • Illuminated switches provide visual status feedback. The main functions of a PA or sound reinforcement system are summarized below: • Top-quality parts throughout, including reliable delivers more than enough ultra-clean power to make Neutrik connectors. Input Mixing and Processing the most of the S112V (C112V) house speakers. • Smooth faders facilitate precise level adjustment. • The sound from acoustic sound sources • As its name implies, a "mixer" is a • Compact, lightweight console is easy to use such as speech or singing, drums, pianos, device which is used to mix and balance ST OUT L R anywhere. acoustic guitars, and electric guitar the signals from the various microphone amplifers is initially picked up using and line sources to create the final microphones. Microphones sources are program the audience will hear. The Power Amp P3500S input to the sound system's mixer via its mixer usually also includes equalization microphone or "mic" inputs. facilities. ■ S y s t e m C h ar t Input A B • Ample power for small scale applications: An ideal match for Club V series speakers. • The output from electronic sources such • Some mixers also include effects such as Mic: as CD players, synthesizers, and other reverb or delay to allow more extensive Scale-Big electronic instruments are connected P3500S control over the output sound. 1 ~ 6 channels directly to the mixer via its line inputs. Line: Four stereo Speaker S112V (C112V) S112V Scale: (C112V) • High power capacity in a compact, lightweight Small town church enclosure. Delivery For Speech For Music • A perfect match for powered mixers or amplifiers Amplification • The output from the power amplifier Audience: with built-in YS Processing. • The balanced program created by the (whether separate or built-in) drives the Approximately 50 mixer is sent to a power amplifier which speakers that actually deliver audible people boosts the program signal so that it can sound to the audience. The type and FRONT L FRONT R drive the system's speakers. number of speakers required will depend on the size and configuration of • Although separate power amplifiers can the venue as well as the type of event Scale-Small be used in just about any application, being handled. ■ Equipment List mixers with built-in power amplifiers and powered speakers are often a better • In live music applications monitor speakers Mixer MG124C 1 choice especially when system simplicity for the performers will also be necessary Power Amp P3500S 1 and portability are required. in most cases. Speaker S112V (C112V) 2 Mid-sized Church ■ Sample Application Mid-sized church installation Source A system like this is an excellent starting point for Speakon Cable worship programs that involve live music as well as the spoken word. An MG16/4 or larger MG-series DEC/NO EXIT INC / YES ENTER EXECUTE XLR Phone Cable XLR Cable Mixer Essentials The mixer is the core of any sound system. The basic elements of a mixer are described below, using the simple MG102C mixer as an example. MICS 1~10 Keyboard Good Reasons For Choosing Yamaha console provides outstanding sonic quality and mixing MIC These are the mixer's microphone inputs, featuring top-quality Pin-jack Connectors These are line-level inputs provided specifically for connecting to Mixer MG16/4 flexibility. And an output chain consisting of P5000S MG16/ 4 Neutrik XLR type connectors. The MG102C allows connection of up to four microphones. standard CD players or tape decks and thus feature pin-jacks that are directly compatible with most equipment of this type. • The MG16/4 provides up to 10 microphone inputs that can power amps driving C115V (S115V) full-range speakers be used to handle a variety of changing situations - organ for mass, choir practice, worship groups and more. and CW118V (SW118V) subwoofers will get the LINE 2TR IN Group Out 1 Electronic keyboards and other electronic instruments, effect These inputs are primarily used to receive the stereo signal from a musical message across without compromise. Powered Group Out 2 devices, electric-acoustic guitars and other line-level devices can be connected to the LINE inputs. Both mono and stereo line inputs are CD player or other source for background music. monitor speakers such as the MSR100 can be added if ST OUT L ST OUT R provided, so synthesizers with stereo outputs, for example, can be connected to the stereo line inputs. REC OUT monitoring is required. Power Amp P5000S The REC OUT connectors can be connected to a stereo tape deck or other recording device to allow convenient recording of the GAIN mixer's stereo program. P5000S Input A Input A P5000S • This configuration provides plenty of power to deliver maximum Primarily used to adjust the input gain (sensitivity) of the impact from all 88 keys of a synthesizer used in place of an microphone inputs. Microphone signals are much lower in level A B A B organ, for example, thanks to built-in YS Processing. than line signals, and require extra amplification. STEREO OUT These are the mixer's main stereo program outputs. ■ S y s t e m C h ar t Speaker C115V, CW118V (S115V, SW118V) HIGH/MID/LOW (Equalizer) /HIGH/LOW Scale-Big Mic: • An ideal match for mixers or amplifiers equipped with YS These equalization controls – somewhat similar to tone controls – SEND 1 ~ 10 channels Processing. can be used to refine the sound of each individual channel. Sends the assigned signals to an external signal processing device Independent controls for the high, midrange, and low frequencies or monitor system. Line: • Large-diameter cones deliver high-quality sound uniformly allow precise response shaping. Four stereo throughout the entire service area. RETURN Receives the processed signal returned from an external signal • A perfect match for powered mixers or amplifiers with built- AUX Scale: in YS Processing. processing device to be mixed back in with the program signal. In addition to the main stereo program outputs, the mixer has Town church "auxiliary" outputs that can be used to send the channel signals to For Speech For Music MSR100 external signal processors or monitor amps and speakers. Independent Audience: METER • A handy powered speaker that can be quickly set up for AUX controls are provided for each channel. Allows accurate visual monitoring of the mixer's stereo signal Approximately 100 music applications when required. levels. people C115V & CW118V (S115V & SW118V) MSR100 PAN F.O.H MONITOR These controls position the corresponding channel's signal from left to right in the stereo sound field. "Pan" is short for ST Scale-Small "panorama" or "panoramic" control. Adjusts the level of the mixer's STEREO outputs, and thus the volume of the sound heard from the system's speakers. ■ Equipment List Mixer MG16/4 1 Sub Woofer CW118V (SW118V) 2 LEVEL These are the main level controls for each of the mixer's channels. MONITOR/PHONES Power Amp P5000S 2 Powered Speaker MSR100 2 The MG102C uses rotary level controls. On larger mixers these are This control adjusts the signal level monitored via both headphones Speaker C115V (S115V) 2 often linear "faders". and the mixer's MONITOR outputs. 12 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 13 Party and DJ Live Music at Home Here's a system that will be appreciated by individuals ■ Sample Application The perfect setup for solo performances at home Source Tips 2 XLR Canon Cable or families who enjoy live music at home. Although an Although a PA system's mixer, amplifiers and speakers are indispensable, so are the cables and connectors that get the system's signals electronic keyboard and just a couple of microphones from one place to another. In fact, choosing the right cables for the various system connections is of the utmost importance. Here's a brief MICS 1~6 Keyboard Good Reasons For Choosing Yamaha are shown, this setup can handle quite a bit more. The overview of the main types of cables and connectors you are likely to encounter. MG124CX console will handle up to 12 inputs with Mixer MG124CX MG124CX top-quality effect processing built-in, and a pair of MSR100 powered speakers put out sound adequate • Built in channel compression makes it easy to achieve great vocal or guitar sound. • Renowned Yamaha SPX effects built in. 1. Cable Types for all but the most spacious living rooms. • Compact, lightweight design lets you make music just about anywhere. Microphone/Line Cables These are the cables used to connect microphones and electronic instruments to the mixer's inputs, and connect the line-level signal ST OUT L ST OUT R from the mixer's outputs to the system's power amplifier(s). These types of cables are shielded to minimize noise pickup. ■ S y s t e m C h ar t Speaker * Never use this type of cable to connect the outputs of a power amplifier to speakers. Microphone/line cables are Scale-Big Mic: MSR100 designed to handle low-level signals, and heat up and even pose a fire hazard if used for power connections. 1 ~ 6 channels • Compact 100-watt powered speaker that can be quickly set up when needed. Line: Four stereo Unbalanced Cables Balanced Cables Scale: Unbalanced cables have just two conductors – Shield Balanced cables have three conductors – two core Shield Living room generally a core and a shield. Electric guitar cables conductors surrounded by a shield. This type of For Speech For Music and most types of electronic instrument cables connection was invented to overcome the noise Audience: have this type of construction. Cables of this type pickup problems commonly encountered with 10 ~ 15 people are convenient to use and offer good noise unbalanced connections, and is the type used in rejection, but are inferior to balanced cable when it Core conductors most professional sound equipment. This type of Core conductors MSR100 MSR100 comes to noise-rejection with very low-level signals cable can only be used with balanced connectors. or long cable runs. Scale-Small ■ Equipment List Mixer MG124CX 1 Powered Speaker MSR100 2 Speaker Cables Speaker cable is specifically * Speaker cable cannot be used in place of microphone/line cable because of its susceptibility designed to transfer the Conductors to noise pickup. Wedding Ceremony ■ Sample Application amplified signal from the A mid-size system to complement important celebrations power amplifier's outputs to the Source speaker's inputs. Speaker cables Maximum Cable Length Two elements essential to any wedding (in addition to Speakon Cable feature heavy-duty conductors The maximum usable length of a cable will depend on the output impedance of the the bride and groom) are speech and music. This system DEC/NO EXIT INC / YES ENTER EXECUTE designed to handle the high-power device feeding it. The maximum length of cable that can be used with high- impedance outputs is about 10 meters. For low-impedance outputs, the maximum is ideal when the joyous mood of the moment needs signal delivered by the power is about 20 meters with unbalanced cable or 80 meters with balanced cable. Longer MICS 1~8 Keyboard Good Reasons For Choosing Yamaha to be conveyed to a fairly large group of guests. In amplifier, and because of the much cables will probably cause some signal degradation, particularly a loss of the high most cases, just a couple of microphones are sufficient, Mixer higher signal levels no shield is frequencies. (The actual maximum length will also depend on the construction and EMX312SC quality of the cable.) required. and an electronic keyboard such as one of Yamaha' EMX312SC • This powered mixer ensures that speeches, background music, and keyboard (organ) performances are heard by s superlative MOTIF series can function as pipe organ, everyone present. piano… just about any instrumentation you need. An EMX312SC driving a pair of S115V (C115V) speakers for • Graphic EQ can be put to good use in adjusting for optimum sound in naturally reverberant chapel spaces. • The microphone inputs can also be used for speeches by 2. Connector Types FOH, and an SM12V (CM12V) for monitoring should guests. • FCL helps to keep feed back in check even when the M.C Phone Connectors XLR-type Connectors cover the sound delivery requirements. moves around. The name "phone connector" (phone plugs and These connectors are primarily used for Speaker A Speaker B phone jacks) comes from the fact that these balanced connections. These are the connectors were originally used in telephone connectors of choice for most professional ■ S y s t e m C h ar t switchboards. Phone connectors come in mono applications because the connectors themselves Scale-Big Mic: and stereo types. The stereo type is also are extremely durable and reliable, and some Speaker S115V (C115V) sometimes referred to as a "TRS" (Tip, Ring, 1 ~ 8 channels feature a locking mechanism to prevent • The large-diameter 15" Club V series S115V (C115V) is Sleeve) phone connector, and these types can be Line: Ring accidental disconnection. Normally "male" chosen for its outstanding projection and presence used for headphones and other stereo signal Four stereo Stereo Phone connectors are used for outputs and "female" • An optimum match for the YS Processing equipped EMX connections, input/output insert patching, and Connector balanced signals. Mono types are only used for connectors are used for inputs. Scale: series mixers Sleeve Tip Wedding chapel unbalanced connections, and are commonly used Mono Phone For Speech For Music with central aisle for guitar and instrument cables. Connector Speakon Connectors Audience: This is a relatively new type of connector that is 20 ~ 30 people S115V S115V RCA Pin Connectors becoming widely used for speaker connections (C115V) (C115V) in professional applications. This type of Most home-use audio and audio/video equipment connector features easy connection as well as Scale-Small use this type of unbalanced connector. The high reliability. ■ Equipment List connectors are often color-coded according to the Powered Mixer EMX312SC 1 type of signal they carry: white for the left audio Speaker S115V (C115V) 2 channel, and red for the right audio channel. 14 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 15 Party and DJ Party and DJ Dinner Presentation Outdoor Dance Event For formal or informal gatherings that require only a few microphones ■ System Chart This relatively large s ystem is designed to deliver dynamic ■ System Chart for speech and an electronic musical instrument or two, a system like Scale-Big Mic: full-spectrum sound that will keep dancers and revelers on the Scale-Big Mic: 1 ~ 8 channels 1 ~ 24 channels the one shown here should be more than sufficient. An EMX212S floor. The high-capacity MG32/14FX console comfortably handles Line: Line: supplies the mixing and output power, and the sound is delivered to Four stereo a wide range of sources and signal-processing, while four P5000S Four stereo the crowd via a pair of BR15 speakers. Scale: power amplifiers driving four S215V (C215V) speakers and SW118V Scale: Large room or restaurant with dinner (CW118V) subwoofers lay down sound the dancers will delight in. Public area with stage set up for For Speech For Music tables For Speech For Music music and a dance floor Monitor sound is delivered via P3500S amps and SM12V (CM12V) Audience: Audience: Approximately 50 people monitor speakers, and graphic EQ for feedback control. 500 people - audience and dancers Scale-Small Scale-Small ■ Sample Application ■ Sample Application An ideal small system for presentations to small groups Large-scale support for outdoor school festivals or dance events Source Source Phone Cable Speakon Cable Phone Cable XLR Cable M ICS 1~8 Keyboard Good Reasons For Choosing Yamaha MICS 1~24 Guitar Amp Bass Amp Drums Keyboard CD Player etc. Turntable x 2 Mixer Good Reasons For Choosing Yamaha EMX212S EMX212S • The most user-friendly model in the EMX lineup. The choice of a mono Mixer model means that plenty of power is available for a variety of situations. • FCL aids in achieving optimum microphone placement. MG32/14FX • Compact, lightweight design for easy setup. MG32/14FX • Can also handle background music or instruments. • Enough input and output capacity to cover two band setups on AUX 4 stage. AUX 3 • Pro-class input/output configuration allows serious mixing and sound quality. AUX 2 • Two built-in digital SPX signal processing stages provide Speaker AUX 1 plenty of signal processing versatility. BR15 • The BR15 has a standard phone-jack connector allowing easy connecting ST OUT L R MONO via a phone-jack speaker cable. Signal Processor Q2031B Q2031B • Use both channels for feedback control and to deliver the BR15 Input A B Input A B optimum monitor sound. Output A B Output A B ■Equipment List Powered Mixer EMX212S 1 Speaker BR15 2 Power Amp P5000S, P3500S • P Series power amplifiers provide ample high-quality power to deliver authoritative bass and drive multiple large speakers. The P5000S P5000S P5000S drives the main speakers surrounding the dance area, P3500S Input A Input A Input A and the P3500S drives the subwoofer system that reinforces Input A B Input A B the low end, as well as the SM12V (CM12V) stage monitors. 1 Simple Steps To Better Sound Speaker A B Speaker A B Speaker A B Speaker A B Speaker A B Gain is the key to level control that the meters just reach peak level on the highest peaks that will be Speaker encountered during the program. S215V, SW218V (C215V, CW218V) The role of a sound system is basically to mix and amplify multiple sources • Large speakers with dual 15"woofers surround the dance floor, to the required level. Learning to set appropriate levels is vitally important ■ Gain Setting Guide and a dual 18"subwoofer supplies the bass to keep the dancers to achieving the best possible sound quality. Microphone: Speech -50dB happily on their feet. Microphone: Soft Vocal -50dB SM12V (CM12V) Mixer Microphone: Loud Vocal -40dB • Four monitors on the stage provide solid monitor sound that 1. The most important level adjustment is gain control. For the best mix Cassette/VTR -10dB won't be drowned out by the excitement going on all around. and sound, the gain of individual channels should be as high as possible CD/LD 0dB S215V S215V SW118V SM12V SM12V SM12V SM12V without distorting or clipping the signal. Some basic levels are given in ( C215V) (C215V ) ( CW118V ) (CM12V ) (CM12V ) ( CM12V) (CM12V ) the chart below. Power Amps F.O.H MONITOR If your mixer has peak indicators, gain should be set so that they light Turn the amplifier's attenuator or volume control up to the required level. The only occasionally on brief signal peaks. important thing to remember is that you should not move the mixer's master 2. Set the master fader about three-quarters of the way toward it's fader at this point. Use the power amplifier controls to set the overall level. In maximum setting. powered mixers, however, the master fader doubles as the power amp ■Equipment List 3. Use the channel faders to set the balance between the input sources. attenuator, and can be used to set the overall volume. Mixer MG32/14FX 1 Graphic EQ Q2031B 2 Monitor Speaker SM12V (CM12V) 4 Watch the level meters while doing this, and try to set the overall mix so Power Amp P5000S 3 Speaker S215V (C215V) 4 Power Amp P3500S 2 Woofer SW118V (CW118V) 2 16 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 17 School and Business School and Business Acoustic Music Lecture Hall ■ Sample Application ■ Sample Application A small system with superior portability and handling ease Small but powerful for lectures and addresses Source Source Acoustic instruments often need amplification to Lecture hall sound systems require a surprising degree Phone Cable XLR Phone Cable be heard and appreciated by more than a handful of functionality – in addition to microphones, there of people. Here's a little system that is ideal for are tape and disc audio sources, audio from a video MICS 1~4 CD Player etc. such applications, with room to spare. Plug your MICS 1~8 Electric-Acoustic Guitar Good Reasons For Choosing Yamaha projector, and computer sound output for OHP Good Reasons For Choosing Yamaha electric-acoustic guitars and microphones into an Mixer EMX212S presentations. The MG82CX mixer shown in this Mixer MG82CX MG82CX EMX212S powered mixer that directly drives a pair of EMX212S • Built-in power for easy setup and superior portability. example is large and versatile enough to handle all of • Built-in channel compression helps to deliver lecture • Plenty of power for a small venue. content with maximum presence. BR10 speakers. the above and more. And a pair of MSR400 powered • SPX effects can be used to enhance ambience as • An idea choice for an acoustic duo – e.g. two acoustic guitars with acoustic pickups or microphones, and two speakers delivers enough power and quality to project required. vocal microphones. • Compact, lightweight design means the mixer can • Equalizers make it easy to achieve great sound in any the sound to the highest tier in the room. be used anywhere and easily moved around as space. required. Speaker A Speaker B • Compression helps maintain ideal vocal balance with the duo. • FCL makes it easy to control feedback problems. ST OUT L R ■ System Chart • Up to 8 microphone inputs can handle multiple acoustic ■ System Chart instruments. Scale-Big Mic: Scale-Big Mic: 1 ~ 8 channels Speaker 1 ~ 4 channels Speaker MSR400 BR10 • High-efficiency, high-power performance delivers Line: • Compact, lightweight, and portable. Line: the sound to the back of the lecture hall. Four stereo Three stereo Scale: Scale: A room about the College lecture hall For Speech For Music size of a high-school For Speech For Music Audience: classroom 50 ~ 100 people Audience: 10 ~ 20 people BR10 MSR400 Scale-Small Scale-Small ■ Equipment List ■Equipment List Powered Mixer EMX212S 1 Mixer MG82CX 1 Speaker BR10 2 Powered Speaker MSR400 2 Conference Room Gymnasium ■ Sample Application ■ Sample Application The perfect small setup for meetings and presentations A mid-size system for sports and other gym events Source Source The system shown here can deliver both optimum In addition to sports events, the "gym" also serves as Phone Cable Phone Cable speech intelligibility for meetings as well as quality a venue for gatherings, meetings, and even movies music reproduction for breaks. The compact MG102C and concerts. Plenty of PA power and mix capacity MICS 1~4 CD Player etc. Good Reasons For Choosing Yamaha MICS 1~8 CD Player etc. Good Reasons For Choosing Yamaha mixer is a perfect choice for this type of application, is required to cover all possibilities. Here's a system with enough capacity and control features to cover Mixer MG102C MG102C that will do the job nicely without being excessive: Mixer EMX5014C EMX5014C just about any conceivable situation. The MSR100 • Built-in channel compression aids in achieving an EMX5014C powered mixer driving a pair of BR15 • Versatile mixing capability and high power amplification optimum intelligibility with fewer level built into a portable unit. powered speakers deliver superb sound quality and will fluctuations. speakers. Superb quality and useful capacity without a • Sufficient power for even large gymnasiums. directly accept a microphone input when a mixer isn't • Compact, lightweight design means the mixer lot of extra equipment. • Plenty of input capacity to handle instruments for live can be used anywhere and easily moved necessary. around as required. music. • Optional BMS-10A Mic Stand Adaptor allows • One-knob Compression makes it easy to set up optimum microphone-stand mounting for easy microphone sound. placement and access. • Versatile equalization and built-in SPX digital effects offer extensive creative control. Speaker A Speaker B • FCL makes it easy to control feedback problems. ST OUT L ST OUT R ■ System Chart ■ System Chart Scale-Big Mic: Speaker Scale-Big Mic: MSR100 1 ~ 4 channels 1 ~ 8 channels Speaker BR15 • 100-watt powered speaker is so small and Line: light tht one person can easily carry two - on Line: • The same large-diameter 15" drivers that have made the Two stereo in each hand. Four stereo Club Series speakers leaders in their class. Scale: Scale: • Durable carpet finish withstands rough use. Meeting or Gymnasium For Speech For Music presentation room For Speech For Music Audience: Audience: 100 ~ 200 people 10 ~ 20 people MSR100 BR15 Scale-Small Scale-Small ■ Equipment List ■Equipment List Mixer MG102C 1 Powered Mixer EMX5014C 1 Powered Speaker MSR100 2 Speaker BR15 2 18 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 19 School and Business STAGEPAS Point of Sale A complete PA system Extra Power and Capacity ■ Sample Application Small, simple, and portable for point-of-sale use There are a multitude of uses for small PA systems Source designed from the start for for Larger Venues in markets and malls. Since such applications usually require only a single microphone and amplification, portability and convenience either the MSR100 or MS101III are good choices. Both XLR Phone Cable accept direct microphone input, and the MSR100 can MIC STAGEPAS 300 STAGEPAS 500 be stand-mounted for broader coverage. • Perfect for public speaking, • Dual 250-watt power Good Reasons For Choosing Yamaha vocalists, guitarists ... just amplifier can fill surprisingly ■ S y s t e m C h ar t about any performance or large clubs or rooms,or Scale-Big Mic: Speaker event requiring portability project your sound over 1 ~ 8 channels and convenience combined a considerable distance Line: with superior sound and outdoors. Class-D power Four stereo MSR100 or MS101III • High-power 100-watt speaker with direct versatility. delivers superior sound Scale: microphone and line inputs (MSR100). quality as well as reliability Large room or • Eight-channel powered • Plug a microphone directly into the front-panel in a remarkably compact unit. For Speech For Music restaurant with mic jack (MS101III). mixer with four microphone and two stereo line inputs, 150W + 150W dinner tables • Just one speaker and a CD player lets you power, and digital reverb. • 10 input channels in all: four mono microphone/line inputs and three Audience: or provide background music. stereo line inputs. Switchable phantom power is provided for Approximately 50 • All you need is a power outlet and it's ready to • High-performance two-way bass-reflex speakers double as convenient people use. storage for mixer and cables ... with enough room left over for high-performance phantom-powered condenser microphones, and Scale-Small MSR100 MS101 III microphones and other articles you might need. top-quality Yamaha SPX reverb is built in. • The powered mixer can be operated while mounted in the speaker • Channels 1 and 2 feature LIMIT/COMP switches that let you apply cabinet, or separated for versatility and easy access. either limiting or compression to those channels. • Optional BMS10A Mic Stand Adaptor allows the mixer to be mounted • STAGEPAS 500 speakers can be stand-mounted without standard on a mic stand. adaptors. ■ Equipment List ■ System Chart ■ System Chart Powered Speaker MSR100 or MS101 III 1 Scale-Big Mic: Scale-Big Mic: Four inputs Four inputs Line: Line: Two stereo Three stereo Scale: Scale: 2 Simple Steps To Better Sound 3 Simple Steps To Better Sound For Speech For Music — For Speech For Music — Audience: Audience: 10 ~ 50 people 50 ~ 100 people Connection and power switching order Feedback control Although simple, the following points will help you to keep your Piercing squeals of feedback can put a damper on even the finest speakers and sound gear in top condition for as long as possible. performance. Feed back control is a vitally important part of live sound. Scale-Small Scale-Small Connecting Cables 1. Check the relative positions of microphones and speakers - feedback Always make sure that all equipment is turned off when making is caused by sound from the speakers being picked up again by the ■ Sample Application connections. Also make sure that all volume and level controls are microphones and "re-circulated". turned down to minimum before turning the power on. In many cases, feedback can be eliminated simply by adjusting the A complete PA system designed from the start for portability and convenience Extra Power and Capacity for Larger Venues positions of the speakers and microphones. Hand-held microphones Source Speaker Cable (Supplied) Speaker Cable (Supplied) Power ON/OFF Switching require extra care so that the performer doesn't move into the When turning on the power to your system, follow the procedure "feedback zone". outlined below to protect your speakers from the power surge that 2. Use graphic EQ. If speaker and microphone positioning doesn't solve occurs when sound gear is switched on or off. the problem, use some graphic equalization. Begin by bringing the Keyboard Keyboard MICS 1~4 MICS 1~4 mixer levels up to a point just before feedback begins - raise the 1. Turn on electric/electronic musical instruments and sources such as microphone-input channel faders and then raise the master fader Good Reasons For Choosing Yamaha Good Reasons For Choosing Yamaha CD or cassette players until feedback begins, then back off a bit. Start with the graphic EQ Mixer & Speaker 2. Turn on the mixer controls flat (set at "0") and, starting with the lowest frequency, STAGEPAS 300 STAGEPAS 500 3. Turn on any graphic equalizers raise each control a few dB. If no feedback occurs, return the • Portability and convenience. • High power but portable controls to "0" as you test each frequency. If feedback occurs when • 150W + 150W powered mixer. and easy to use. 4. Turn on the power amp(s) you boost one • Eight-channel mixer. • Efficient, high-performance frequency, cut that 250W + 250W amplifier. Reverse this procedure when turning the system off. • Hi performance two-way frequency by a few bass-reflex speaker. • Versatile 10-channel mixer See "Simple Steps To Better Sound – 2" for information on preventing dB, and continue with phantom power. speaker overload and "Simple Steps To Better Sound – 3" for feedback • Five meter speaker cables testing the remaining included. • Compression/limiting and control hints. frequency bands. This SPX reverb built in. procedure can be • STAGEPAS 500 speakers effective in preventing can be stand-mounted feedback in situations without standard adaptors. in which the STAGEPAS 300 STAGEPAS 500 microphones and monitor speakers must be used in close Flat (0) Raise (+) Cut (–) proximity. ■Equipment List ■Equipment List Portable PA System STAGEPAS 300 1 Portable PA System STAGEPAS 500 1 20 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 21 Product Line UP Product Line Up The Yamaha pro audio lineup includes everything you need to achieve professional sound in applications ranging from small events to large Tips 3 Selecting PA Equipment concerts. For serious power and system versatility, there is an excellent selection of independent components -- mixers, amplifiers, equalizers, The term "PA system" can be applied to an extremely wide range speakers. But when convenience and ease are the main criteria, there's a good range of powered mixers and speakers to choose from as well. of equipment used to provide sound for an endless variety of Whatever your live sound needs, Yamaha has the solution. applications. Here's a quick guide for selecting the right equipment for your application. Mixer How Many Microphone Inputs? • Meetings, lectures, and other speech-based applications may only require a small mixer with a few microphone Mixer inputs. Live concerts, on the other hand, may involve microphones for vocals, chorus, and a multitude of musical instruments. The number of microphone inputs you need is the first requirement you should consider when choosing a mixer. Mixing Console Mixing Console Powered Mixer Digital Mixing Console Reverb for Vocals MG102C MG82CX EMX212S 01V96V2 • If your application involves singing, you'll probably want to add some reverb and/or delay to the vocal sound. You could use external signal processing, but it might be more convenient to have this capability built right into the mixer. MG124C MG124CX EMX312SC P. 26 The EMX-series powered mixers and MG-series mixers such as the MG16/6FX feature a range of top-quality built-in effects. MG16/4 MG16/6FX EMX512SC Built-in Power • Mixers with built-in power amplification are often simply referred to as "powered mixers." The benefits of this type of P. 24 MG24/14FX mixer include easier setup and greater portability (you don't have to carry and connect an external power amplifier). P. 25 Powered mixers are recommended for applications such as meeting rooms or other situations in which the size of the MG32/14FX room and audience remains constant. P. 24 Sound Processor Feedback Control • Although you might think of graphic equalizers as precision sound-shaping tools (and they are), one of their main Signal Powered Mixer Professional (Graphic Equalizer) uses in live-sound applications is feedback control. Processor EMX5014C Multi-Effect Processor • Graphic equalizers divide the audio spectrum into narrow frequency bands that can be individually adjusted as required. The Yamaha Q2031B, for example, is a stereo graphic equalizer that provides 31 bands of adjustment per SPX2000 EMX5016CF P. 28 channel. Feedback can be prevented by reducing the level of the frequencies at which it is likely to occur. • EMX-series mixers feature built-in graphic EQ. P. 26 Graphiic Equalizer Q2031B P. 28 Portable PA System Power Amp One Watt Per Person STAGEPAS • The power output of a PA system is determined by the power amplifier(s) used. So how much power do you need? A Power Amp Power Amplifier 300 basic rule of thumb is to allow about 1 watt per audience member. If your audience will be about 100 people, plan on having about 100 watts of power available. P7000S STAGEPAS • The one-watt-per-person rule is only a guideline, however, and the actual power requirements will be affected by many factors including the natural reverberation of the venue and the efficiency of the speakers used. Outdoor P5000S 500 applications require considerably more power than indoor events. The type of music being performed will also affect the amount of power required. In all cases, it is a good idea to have some "extra" power to spare. P3500S P. 33 • Another important power-related issue to keep in mind is speaker protection. Speakers have a maximum power- Powered Speaker P2500S handling capacity that, if exceeded, will result in speaker damage. Speakers with a greater power-handling capacity Powered Monitor than the power output of the amplifiers used should always be chosen for safety. MSR400 P. 28 Speaker * Professional sound engineers will generally use larger-than-necessary power amplifiers running at considerably lower than maximum output to maximize sound quality. In such cases great care must be taken not exceed the speakers' maximum power-handing capacity. Powered Sub Woofer HS50M MSR800W HS80M Speaker Speakers Speaker Efficiency P. 31 Powered Sub Woofer • Clearly the power output of a sound system is an important consideration, for which output "watts" is the most commonly used specification. But speaker efficiency also plays an important role in determining the "loudness" of the HS10W system. Loud Speaker Monitor Sub Woofer Powered Speaker • Yamaha specifies speaker efficiency by measuring sound pressure level one meter away from the cone of a speaker P. 34 S112V SM10V SW115V MSR100 driven by one watt of power (dB SPL/1Wom). So for example, if 200 watts of power is supplied to the Yamaha SM10V speaker, which has an efficiency of 96 dB SPL/1Wom, the resultant sound pressure level will be 119 dB. But to achieve S115V SM12V SW118V MS101 III the same 119 dB sound pressure level with the SM15V, which has a higher efficiency of 99 dB SPL/1Wom, only 100 watts of power is required. An efficiency difference of only 3 dB means you have to either double or halve the amount Powered Monitor of power provided to achieve the same sound pressure level (see below). S215V SM15V SW218V P. 32 Speaker C112V CM10V CW115V MSP5 STUDIO C115V CM12V CW118V MSP7 STUDIO The Meaning of "dB" C215V CM15V CW218V Powered Sub Woofer If the smallest sound that can be heard by the human ear is given an arbitrary value of 1, then the Loud Speaker Monitor + 20 dBu C112VA MSP10W STUDIO loudest sound that can be heard is approximately 1,000,000 (one million) times louder. That's too The standard level for inputs and outputs on mixers BR10 BR10M many digits to deal with for practical calculations, and so the more appropriate "decibel" (dB) unit and most professional audio gear is +4 dBu. C115VA P. 34 was created for sound-related measurements. In this system the difference between the softest and 0.775V 0 dBu BR12 BR12M loudest sounds that can be heard is 120 dB. This is a non-linear scale, and a difference of 3 dB Most electronic musical instruments and home audio gear have a standard line output level of –10 dBu. actually results in a doubling or halving of the loudness. - 20 dBu P. 29 BR15 BR15M Ratio 0.01 0.1 0.5 1 2 4 5 8 10 100 1000 Microphone levels vary over a wide range, - 40 dBu P. 30 dB -20dB -10dB -3dB 0dB 3dB 6dB 7dB 9dB 10dB 20dB 30dB depending on the sound source. Average speech is about –30 dBu, the chirping of a bird might be less * The decibel scale is a relative scale based on an arbitrarily chosen "0" value. In most audio equipment 0 db - 60 dBu than 50 dBu, and a drum at close range can be as corresponds to a signal voltage of 0.775 V. high as 0 dBu. 22 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 23 Product Line UP—Mixers Product Line UP—Mixers MG Series I EMX512SC/312SC/212S f you need a high-performance analog mixer for music production or sound reinforcement, the Yamaha MG Series may be the only place you need to look.Featuring eight models ranging in size from small 8- or 10-channel/2-bus units through mid-size MIXING CONSOLES MG102C MG82CX 12- or 16-channel/4- or 6-bus models right up to very flexible 24- and 32-channel/14-bus POWERED MIXERS types with an impressive selection of built-in effects, the MG series offers a console for any size application. There have been no compromises. These mixers are built for great sound, total control, and superior reliability. In fact, they undergo the same rigorous quality and reliability tests as our world-class PM-series mixing consoles. But, by taking full advantage W here portability and convenience are important criteria, a system based on a high-performance Yamaha EMX-series powered mixer is definitely the way to go. In one integrated, portable unit you have a mixer to combine and balance your microphone, instrument, and line sources, effects to refine and polish your sound, and power to drive the main speakers and even monitor speakers as well. But that's nowhere near the whole story – Yamaha EMX-series Powered Mixers offer a range of features that of the latest Yamaha technology and manufacturing techniques, we have been able to pack let you mix, process, and deliver your sound with maximum quality and creative control ... and, of course, that unrivalled Yamaha sound. these superlative mixers with more value than you'll find anywhere else. In short, they offer extraordinary performance and mixing power at remarkable prices. EMX512SC EMX312SC Introducing MG124C MG124CX the New MG Mixers MG24/14FX T he new additions to the MG series feature the same compact, lightweight design as the original models, and incorporate the latest generation of specially selec ted component s for fur ther refined per formance and audio MG32/14FX precision. They also now feature Yamaha's innovative one-knob compressor for built-in dynamics control that further eliminates the need for external equipment MG16/4 and potentially troublesome connections. If you need a convenient analog mixer that can handle from 8 and 12 input sources and deliver pro-level sound, plus top- quality effects in the" CX" models, the new MG models might be exactly what Superior Sound & MG16/6FX you're looking for. Control In Any Application S pecifications EMX212S MG102C MG82CX MG124C MG124CX Rear panel Total Harmonic Distortion 0.1 % (THD+N) +14 dBu, 20Hz – 20kHz, Input Gain Control at minimum (ST OUT) Frequency Response -3, 0, +1dB 20Hz – 20kHz @ +4dBu (ST OUT) 0 +1, -3dB, 20Hz – 20kHz @ +4dBu (ST OUT) Input Hum & Noise *1 -128dBu Equivalent Input Noise/-100dBu Residual Output Noise, 20Hz – 20kHz, Rs=150Ω, -128dBu Equivalent Input Noise/-98dBu Residual Output Noise, 20Hz – 20kHz, Rs=150 Ω, Input Gain=Maximum, Input sensitivity=-60dB Input Gain=Maximum, Input sensitivity=-60 dB Crosstalk -70dB @ 1kHz Phantom Power + 48V CH & ST High Pass Filter 80Hz 12dB/Octave Input MIC: 4, LINE: 2 mono + 3 stereo, MIC: 6, LINE: 4 mono + 4 stereo, CH INSERT: 2, AUX RTN: 1 stereo, CH INSERT: 4, AUX RTN: 1 stereo, 2TR IN: 1 2TR IN: 1 Output ST: 1, AUX SEND: 1 , CH INSERT: 2, ST: 1, EFFECT SEND: 1, CH INSERT: 2, ST: 1, AUX SEND: 2, CH INSERT: 4, ST: 1, AUX SEND: 1, EFFECT SEND: 1, CH INSERT: 4, REC: 1 stereo, MONITOR: 1 stereo REC: 1 stereo, MONITOR: 1 stereo REC: 1 stereo, MONITOR: 1 stereo, GROUP: 2 REC: 1 stereo, MONITOR: 1 stereo, GROUP: 2 CH EQ (MONO) *2 ±15 dB (Max.) 100 Hz (Shelving), 2.5 kHz (Peaking), 10 kHz (Shelving) CH EQ (STEREO) *2 ±15 dB (Max.) 100 Hz (Shelving), 10 kHz (Shelving) MONO Out Low Pass Filter – 80 – 120Hz 12dB/octave Graphic Equalizer 7-band (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz) – – – ±12 dB (Max.) Internal Digital Effect 16 Programs: Parameter Control 16 Programs: Parameter Control – – Foot Switch (Digital Effect On/Off) Foot Switch (Digital Effect On/Off) S pecifications Dimensions (W x H x D mm) 256.6 x 62.2 x 302.5 346.2 x 86.1 x 436.6 Weight 1.5 kg 1.6 kg 3.0 kg 3.2 kg Power Requirements *4 21W 21W 30W 30W Other mic stand mountable mic stand mountable – – ( w/ BMS-10A MIC STAND ADAPTOR) ( w/ BMS-10A MIC STAND ADAPTOR) *1 Hum & Noise are measured with a 6dB/octave filter @ 12.7kHz;equivalent to a 20kHz filter with infinite dB/octave attenuation. *2 Turn over /roll-off frequency of shelving : 3dB below maximum variable level. EMX212S EMX312SC EMX512SC Maximum Output Power @0.5% THD at 1kHz 220W+220W/4ohms, 300W+300W/4ohms, 500W+500W/4ohms, MG16/4 MG16/6FX MG24/14FX MG32/14FX 130W+130W/8ohms 190W+190W/8ohms 350W+350W/8ohms Total Harmonic Distortion Less than 0.1 % (THD+N) 20Hz – 20kHz @ +14 dBu (ST OUT) *3 Less than 0.1 % (THD+N), 20Hz – 20kHz @ +14dBu (ST OUT) Input Connectors MIC: max.8, MIC: max.8, MIC: max.8, Frequency Response -3, 0, +1 dB 20Hz – 20kHz @ +4dBu (ST OUT) 0 +1, -3dB, 20Hz – 20kHz @ +4dBu (ST OUT) LINE: 4 stereo LINE: 4 stereo LINE: 4 stereo Input Hum & Noise *1 -128dBu Equivalent Input Noise/-100dBu Residual Output Noise, 20Hz – 20kHz, Rs=150Ω, Input -128 dBu Equivalent Input Noise/-99dBu Residual Output Noise Output Connectors SPEAKER OUT: (A1, A2, B1, B2), SPEAKER OUT: (A1, A2, B1, B2), SPEAKER OUT: (A1, A2, B1, B2), Gain=Maximum, Input sensitivity=-60dB *3 20Hz – 20kHz, Rs=150Ω, Input Gain=Maximum, Input Pad =OFF, MAIN OUT: 1 stereo, MAIN OUT: 1 stereo, MAIN OUT: 1 stereo, Crosstalk -70dB @ 1kHz EFFECT OUT: 1, EFFECT OUT: 1, EFFECT OUT: 1, Phantom Power +48 V MONITOR OUT: 1, MONITOR OUT: 1, MONITOR OUT: 1, CH & ST High Pass Filter 80Hz 12dB/Octave REC OUT: 1 stereo REC OUT: 1 stereo REC OUT: 1 stereo Input MIC: 10, LINE: 8 mono +4 stereo, MIC: 10, LINE: 8 mono +4 stereo, MIC: 16 + 1, LINE: 16 mono + 4 stereo, MIC: 24 + 1, LINE: 24 mono + 4 stereo, EQ HIGH 10kHz shelving 10kHz shelving 10kHz shelving CH INSERT: 8, AUX RTN: 1 stereo, CH INSERT: 8, AUX RTN: 1 stereo, CH INSERT: 16, AUX RTN: 2 stereo, 2TR IN: 1, CH INSERT: 24, AUX RTN: 2 stereo, 2TR IN: 1, MID 2.5kHz peaking 2.5kHz peaking 2.5kHz peaking 2TR IN: 1 2TR IN: 1 ST INSERT: 1, GROUP INSERT: 4 ST INSERT: 1, GROUP INSERT: 4 LOW 100Hz shelving 100Hz shelving 100Hz shelving Output ST: 1, AUX SEND: 2, CH INSERT: 8, ST: 1, AUX SEND: 2, CH INSERT: 8, ST, MONO, AUX SEND: 6, CH INSERT: 16, ST, MONO, AUX SEND: 6, CH INSERT: 24, Phantom Power +15V +15V +15V REC: 1 stereo, C/R: 1 stereo, GROUP: 2 REC: 1 stereo, C/R: 1 stereo, GROUP: 4 REC: 1 stereo, C/R: 1 stereo, GROUP: 4, FX: 2 REC: 1 stereo, C/R: 1 stereo, GROUP: 4, FX: 2 Graphic Equalizer 7 band (125, 250, 500, 1k, 2k, 4k, 8kHz): 7 band (125, 250, 500, 1k, 2k, 4k, 8kHz): 7 band (125, 250, 500, 1k, 2k, 4k, 8kHz): CH EQ (MONO) *2 ±15 dB (Max.) 100Hz (Shelving), 2.5kHz (Peaking), 100Hz (Shelving), 0.25 – 5kHz (Peaking), 100Hz (Shelving), 0.25 – 5kHz (Peaking), 10kHz (Shelving) Main (Stereo) and Monitor Main (Stereo) and Monitor Main (Stereo) and Monitor 10kHz (Shelving) 10kHz (Shelving) Digital Effects SPX Digital Multi Effector SPX Digital Multi Effector SPX Digital Multi Effector CH EQ (STEREO) *2 ±15 dB (Max.) 100Hz (Shelving), 2.5kHz (Peaking), 100Hz (Shelving), 800Hz (Peaking), 100Hz (Shelving), 800Hz (Peaking), 3 kHz (Peaking), 10kHz (Shelving) (24bit AD/DA, 32bit Internal Processing) (24bit AD/DA, 32bit Internal Processing) (24bit AD/DA, 32bit Internal Processing) 10kHz (Shelving) 3kHz (Peaking), 10kHz (Shelving) 16 programs 16 programs 16 programs MONO Out Low Pass Filter 80 – 120 Hz 12dB/octave Power Amp. Mode L/R, MAIN (L+R)/MONITOR L/R, MAIN (L+R)/MONITOR L/R, MAIN (L+R)/MONITOR Graphic Equalizer – 7-band (125, 250, 500, 1k, 2k, 4k, 8kHz) – – Yamaha Speaker Processing Yes Yes Yes ±12dB (Max.) Stand-by switch Yes Yes Yes Internal Digital Effect – 16 Programs: Parameter Control SPX x 2 (Effect 1: 16 Programs, Effect 2: 16 Programs, Parameter Control) Foot Switch Effect On/Off Effect On/Off Effect On/Off Dimensions (W x H x D mm) 423 x 108 x 416.6 819 x140 x 551 1027 x 140 x 551 Dimensions (W x H x D mm) 442 x 274 x 286 442 x 274 x 286 442 x 274 x 286 Weight 5.2 kg 5.5 kg 18.5 kg 22 kg Weight 8 kg 8 kg 8 kg Power Requirements *4 36W 120V / 60Hz 51W 120V / 60Hz 100W 120V / 60Hz 120W 120V / 60Hz Power Requirements /Consumption 120V AC 60Hz 270W, 120V AC 60Hz 270W, 120V AC 60Hz 270W, 36W 220V / 50, 60Hz 51W 220V / 50, 60Hz 100W 220V / 50Hz 120W 220V / 50Hz 230V AC 50Hz 270W, 230V AC 50Hz 270W, 230V AC 50Hz 270W, 36W 230V / 50Hz 51W 230V / 50Hz 100W 230V / 50Hz 120W 230V / 50Hz 240V AC 50Hz 270W 240V AC 50Hz 270W 240V AC 50Hz 270W 36W 240V / 50Hz 51W 240V / 50Hz Option RK-512 (Rack Mount Adaptor) RK-512 (Rack Mount Adaptor) RK-512 (Rack Mount Adaptor) Other Rack Mountable Rack Mountable – – *1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7kHz;equivalent to a 20kHz filter with infinite dB/octave attenuation. *3 (CH1-8): MG16/4, MG16/6FX. *2 Turn over /roll-off frequency of shelving : 3dB below maximum variable level. *4 PA-30 (MG16/6FX). 24 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 25 Product Line UP—Mixers EMX5014C POWERED MIXERS S pecifications Topic I EMX5014C f your sound reinforcement requirements are getting Maximum Output Power 500W+500W/4ohms, 350W+350W/8ohms, serious, but you still want the convenience and reliable @0.5% THD at 1kHz 1000W/8ohms bridge performance of a Yamaha powered mixer, check out the Input Connectors MIC: Max 8, LINE: 4 stereo, INSERT: 6 Output Connectors ST OUT: 1 stereo, ST SUB OUT: 1 stereo, EFFECT SEND: 1, console-style EMX5014C. Here's an all-in-one solution AUX SEND: 2, REC OUT: 1 stereo, CH INSERT OUT: 6 that will appeal to bands and venue operators alike. EQ HIGH 10kHz shelving The EMX5014C transports and sets up with the ease of MID Peaking, 250Hz – 5kHz sweep systems built around the smaller EMX-series powered LOW 100Hz shelving P.T. Yamaha Music Phantom Power +48V manufacturing Asia mixers, but will also prove it's worth in more permanent Graphic Equalizer 9 band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz) —Manufacturing the electronic installations. It can even be rack-mounted for vertical or Digital Effects SPX Digital Multi Effector instruments and PA products (24bit AD/DA, 32bit Internal Processing): 16 programs angled operation, and real space savings! But of course Power Amp. Mode L/R, AUX1/MONO, AUX1/2 From the initial design to final the EMX5014C offers much more than just convenience. Power Select Switch 500W / 200W / 75W manufacturing, all production processes for the Yamaha EMX Yamaha Speaker Processing Yes It provides a surprising palette of features and versatile series Powered Mixers and MG Stand-by switch Yes signal routing options that can take your live sound to series Mixing Consoles are Foot Switch Effect On/Off performed entirely inside the the next level. And it's a Yamaha, so you know it's going Dimensions (W x H x D): mm 444 x 155 x 493 company. Weight 10.5 kg Moreover, every product that comes to sound great. Power Requirements 120V AC 60Hz 450W, 240V AC 50Hz 450W, off our production line must pass /Consumption 230V AC 50Hz 450W strict quality controls using the sophisticated test instruments. Thus, EMX5016CF Option RK-5014 (Rack Mount Adaptor) all of this enables us to deliver the highest quality products to you. EMX5016CF POWERED MIXERS Maximum Output Power @0.5% THD at 1kHz 500W+500W/4ohms, 350W+350W/8ohms, 1000W/8ohms bridge An Interview with the EMX Design Team Input Connectors MIC: Max 12, LINE: 4 stereo, INSERT: 6 Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers T he EMX5016CF combines the convenience of an Output Connectors ST OUT: 1 stereo, ST SUB OUT: 1 stereo, EFFECT SEND: 2, AUX SEND: 2, REC OUT: 1 stereo, CH INSERT OUT: 8 integrated powered mixer with input capacity, EQ HIGH 10kHz shelving New Features • In the box-type 212C, 312SC, and 512SC, it was easy to • The strength of the integral handles was also flexible features, and solid sound that critical live MID Peaking, 250Hz – 5kHz sweep mount the fan away from the circuit board to minimize predicted using computer simulation, and as a result * What is the main difference compared to previous degradation of the audio signal. But in the console-type we have achieved strength comparable to that of LOW 100Hz shelving sound applications demand. It is remarkably compact EMX-series mixers? EMX5016CF and EMX5014C finding the ideal fan location aluminum. Phantom Power +48V and portable for a live sound system with this much Graphic Equalizer 9 band (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz) • The main difference is built-in compression. was extremely difficult. Since the fan must be located near capability, but offers performance and reliability that Digital Effects SPX Digital Multi Effector Compression is indispensable in almost all professional the input circuitry, special measures have been taken to (24bit AD/DA, 32bit Internal Processing): 16 programs x 2 recording and live-sound applications, but we believe ensure that electronic and mechanical noise from the fan will satisfy the discerning professional user either on the do not affect sound quality, while at the same time Power Amp. Mode L/R, AUX1/MONO, AUX1/2 that this is the first time it has been built into an analog road or in installed applications. And thanks to leading Power Select Switch 500W / 200W / 75W live mixer. ensuring maximum heat extraction. Yamaha digital technology the EMX5016CF also includes Yamaha Speaker Processing Yes • The hardware team wanted to increase the size of Stand-by switch Yes • Most "box type" mixers have no insert connectors, so a number of innovations that make it easier than ever there has really been no convenient way to use the body by 30 millimeters, but our goals for a Foot Switch Effect On/Off to achieve top-class sound in just about any venue. Dimensions (W x H x D mm) 444 x 155 x 493 compression with them. As a result, many users of this streamlined, compact design were important enough type of powered mixer have never used compression, that we decided to find other ways to achieve the An impressive power output of 500 watts per channel Weight 11 kg desired performance. Power Requirements 120V AC 60Hz 500W, but we wanted them to have that option in the new means it can handle fairly large audiences, indoors or /Consumption 220 – 240V AC 50Hz 500W EMX series. out. The EMX5016CF goes considerably beyond the Option RK-5014 (Rack Mount Adaptor) Reliability Without • Although compression is used in most pro audio standard definition of" powered mixer," entering the applications, it has been a bit too difficult for beginners Compromising Performance realm of serious sound reinforcement. to take full advantage of. That's why we've streamlined * The simplicity and aesthetic appeal of the designs are it down to the essentials and made it very easy to use. quite impressive. Tell us about the design concept. Achieving Pure Sound Quality • Another important new feature is FCL (Feedback Channel * What measures have been taken to ensure 01V96V2 Location). This system detects feedback and shows you • Simplicity was the main goal, particularly in the console- S pecifications type 5016CF and 5014C. We wanted to consolidate the optimum sound quality? which channel is causing the problem. Some mixers from other manufacturers have indicators in the graphic equalizer mixer controls, so the utility control section has been clearly • Of course sound quality is first and foremost in the section that show the feedback frequency, but indicating separated. We didn't even want any handles to be visible. design of any model. Achieving the lowest possible DIGITAL MIXING CONSOLE the problem channel allows the feedback to be more effectively controlled using channel EQ. • An important idea implemented in the box-type noise and hum when changing components is always a challenge. There's influence from vibration, from models is that they can be set at an angle like 01V96V2 the current flowing through the components monitor speakers. The integral handles are also an S ound, reliability, operability ... Yamaha digital mixing Internal processing 32bit (Accumulator 58bit) • If you try to control feedback using the EMX graphic themselves, and a simple op-amp IC change can equalizer, for example, you end up changing the sound important design feature, and achieving the required consoles have become standards throughout the Number of scene memories 99 strength was a constant problem. precipitate a large change in sound. We often find Sampling frequency Internal 44.1kHz, 48kHz, 88.2kHz, 96kHz of the entire program. For this reason it is far more ourselves using the best components we can find world because they deliver all of the above with no External Normal rate: 44.1kHz-10% -48kHz+6% effective to control it at the input, thus avoiding • Achieving the ideal blend of size, weight, and durability rather than compromise on sound quality. Even the compromise: the PM1D, PM5D, and M7CL for sound Double rate: 88.2kHz-10% -96kHz+6% degradation of the overall sound. is quite difficult. As usual, demands from the sales team FCL system has an effect on the sound, and we were reinforcement and broadcast applications; the DM2000, Fader resolution 100mm motorized x 17 continue to escalate while the hardware and mechanics able to achieve a dramatic improvement by simply Total harmonic distortion * @fs = 48kHz: Less than 0.05%, 20Hz to 20kHz @+14dB into 600ohms teams try to turn them into reality … without ever DM1000, and 02R96 for sound and music production. Input GAIN=Min. Less than 0.01%, 1kHz @+24dB into 600ohms The Battle Against Heat reducing or compromising features or performance. eliminating a single component from the circuit. Once again, the final design depends on trial-and- The 01V96V2 brings you the same performance and CH INPUT to STEREO OUT @fs = 96kHz Less than 0.05%, 20Hz to 40kHz @+14dB into 600ohms * Tell us about how you avoided heat problems in Computer simulation was called into play once again, error listening tests while changing components. reliability in a compact, affordable format that's perfect Less than 0.01%, 1kHz @+24dB into 600ohms such compact enclosures. providing an accurate preview of the mold-flow Frequency response @fs = 48kHz 0.5, -1.5dB, 20Hz – 20kHz @+4dB into 600ohms characteristics of the resin used for the box-type housings. • With SPX effects in all models in this EMX series, for the home or smaller professional production studio. CH INPUT to STEREO OUT @fs = 96kHz 0.5, -1.5dB, 20Hz – 40kHz @+4dB into 600ohms • Heat and high power output unavoidably go hand-in- plus compression and FCL, you can rely on a single It may be small, but it has a maximum 40-channel input Dynamic range 110dB typ. DA Converter (STEREO OUT) hand. In this case we were also determined to reduce • The final strength of the molded housings depends to EMX powered mixer to deliver outstanding live (maximum level to 106dB typ. AD+DA (to STEREO OUT) @fs=48kHz weight, so the design, hardware, and mechanics teams a large degree on how the molten resin is introduced in sound, especially in applications that use mostly capacity and can be cascaded for applications that require noise level) 106dB typ. AD+DA (to STEREO OUT) @fs=96kHz joined forces to pursue this goal. Changing even a the mold, and how it flows within the mold. microphones. more. And, of course, 24-bit/96 kHz operation is standard. Hum & noise level ** -128dB Equivalent Input Noise. single component can alter the heat profile enough to Mixer functions and effects are all inherited from the (20Hz-20kHz) -86dB residual output noise. STEREO OUT require a change in heat sink design, and that change * Most compressors have at least two controls, Rs=150ohms STEREO OUT off. can cause a change in sound quality, so the design what is the idea behind having just one? top-of-the-line DM2000, so you know you're getting Input GAIN=Max -86dB (90dB S/N) STEREO OUT process involves a lot of trial and error. • Simplicity. Standard compression controls can be the best. And the Version 2 upgrade features a number Input PAD=0dB STEREO fader at nominal level and all CH INPUT faders at minimum level. very difficult to set quickly and accurately, but we've Input PAD=0dB -64dB (68dB S/N) STEREO OUT • In this particular case, the fact that we were able to use of improvements and enhancements in both functions internal heat-flow simulation and analysis was a huge managed to provide well-balanced threshold and Input sensitivity=-60dB STEREO fader at nominal level and one CH INPUT fader at nominal level and operation. The 01V96V2 brings cutting-edge digital Maximum voltage gain 74dB CH INPUT (CH1-12) to STEREO OUT/OMNI (BUS) OUT advantage. We were able to define an enclosure shape ratio settings that can be controlled by a single on the computer, and then by analyzing the heat flow knob. By focusing primarily on microphone mixing and processing performance within easy reach. 40dB CH INPUT (CH13-16) to STEREO OUT 74dB CH INPUT (CH1-12) to OMNI (AUX) OUT (via pre input fader) while refining the heat applications in which compression is applied to 74dB CH INPUT (CH1-12) to MONITOR OUT (via STEREO BUS) sink configuration we vocals, acoustic guitar, or similar sources, great- Crosstalk(@1kHz) 80dB adjacent input channels (CH1-12, 13-16) were able to come to sounding compression can be dialed in quickly and Input GAIN=min 80dB input to output within 80% or 90% easily. Power requirements North America: AC120V, 60Hz, 90W of the ideal final • There's a good description of compression and its Other Areas: AC220 – 240V, 50/60Hz, 90W design. The final uses in the owner's manual. We hope that our Dimensions (W x H x D mm) 436 x 150 x 548 stages using physical users will take advantage of this very useful Weight 15kg prototypes still relied feature. * Total Harmonic Distortion is measured with a 6dB/octave filter @80kHz. on trial and error. ** Hum & Noise are measured with a 6dB/ octave filter @12.7kHz;equivalent to a 20kHz filter with infinite dB/octave attenuation. 26 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 27 Product Line UP—Power Amplifer Product Line UP—SR Speakers SPX2000 Q2031B Club V Loudspeakers S-Series & C-Series PROFESSIONAL MULTI-EFFECT PROCESSOR GRAPHIC EQUALIZER The SPX2000, while inheriting the standard interface and common programs Yamaha Graphic Equalizers offer features and performance that meet today's S115V from its predecessors, brings a new sound quality with the "REV-X" reverb equalization needs whether they be in sound reinforcement, recording, A / V algorithm and the 24 bit/96-kHz audio DSP. production, electronic musical instruments, broadcasting, music listening, or any other applications where precise sound tailoring is essential. Great Sound To Go I f you're tired of breaking your back for mediocre speaker performance, it's time to look at the Yamaha Club V S-Series. Although they easily load into and out of your compac t sedan, they also deliver power S215V S112V and per formance that makes them ideal for up to mid-sized sound reinforcement systems. And in the world of the touring PA, there's virtually no way you can cart gear around without bumping into the occasional ● 24-bit Liner 128-times/64-times Oversampling (@fs= 44.1,48kHz/88.2,96kHz) ● PRESET BANK: 97, USER BANK: 99, SW118V immovable object, so you'll appreciate the durable carpet covering – which CLASSIC BANK: 25 ● AC 120V, 60Hz, AC 230V, 50Hz, 25W ● 480W x 45H x 372.5D mm, 4kg SW15V also protects the interior of your vehicle from the speakers. Heavy-gauge ● 31 band (1/3 octave) ● Variable Range: +/- 12dB , +/- 6dB l HPF: 12dB/octave (20 - 200Hz at -3dB point.) ● AC 120V, 60Hz, AC 230V, 50Hz ● 20W ● 480 x 93.4 x 230mm, 4.0kg steel grilles and steel protectors help protect your investment, too. SM15V In the Club V S-Series the refinements of generation V are taken to SPX History The good reputation from users keeps our SPX effects as standard effects over 15 years... the next level, with larger enclosures for improved low-frequency per formance, improved drivers for higher power handling, re - 1983 84 85 86 87 88 89 90 91 92 93 94 95 2001 02 03 04 designed crossovers, stronger grilles, and dual Speakon ® and 1/4" 2nd generation 3rd generation Latest generation connectors. SPX1000 SPX900 SPX990 SPX2000 SM12V SM10V SW218V 1st generation 16-bit/44.1 kHz 20-bit/44.1 kHz 24-bit/96 kHz SPX90 SPX90II SPX50D Multiple FX pre/post dyn FX AES/EBU In/Out Stereo input (SPX1000) Stereo input with XLR connector REV-X Before SPX 90 type presets Entry model of SPX Digital In/Out (SPX1000) REV1 REV7 16-bit /31.25 kHz Good for the guitarists Superior Sound on the Ground T he Club V C-Series includes two "VA" flyable models that are ideal DSP reverb Digital distortion for installations. In fact, the entire series features foam-backed full- or Overhead face perforated steel grilles and a sprayed finish that makes for elegant yet unobtrusive installations. Performance-wise, the C-Series speakers P Series offer the same specs as the S-Series, with large enclosures for improved low-frequency performance, improved drivers for higher power handling, re-designed crossovers, stronger grilles, and dual Speakon ® and 1/4" POWER AMPS connectors. T he P Series power amplifiers have been designed specifically to deliver big, clean power output that will take full advantage of the quality and power handling capabilities of Yamaha speakers. The amps are equipped with YS Processing (Yamaha Speaker Processing) to deliver a signal that is optimally matched to those speakers as well. All models feature both XLR and 1/4-inch TRS inputs, and Neutrik Speakon, phone plug, and five-way binding post outputs to make connections quick and easy. Other features C112VA C115VA include Yamaha's exclusive EEEngine technology which delivers high performance with exceptional efficiency, sweepable high- and low- pass filters for optimizing output to any loudspeakers, compact and durable 2U chassis, and variable speed cooling fans. P7000S P5000S Sound Advice S pecifications *S-series are carpet finish, C-series are sprayed finish. So what does this YSP (Yamaha Speaker S115V/SM15V Frequency Response Club V S- & C- series Processing) switch do, anyway? Glad you 110 S112V, C112V S115V, C115V S215V, C215V SM10V, CM10V SM12V, CM12V SM15V, CM15V asked: it rolls off unnecessary frequencies P3500S below around 40 Hz, which helps to RESPONSE (dB) 100 YSP/ON Type Frequency Range 12" 2 way bass reflex 60Hz – 16kHz (-10dB) 15" 2 way bass reflex 55Hz – 16kHz (-10dB) 15" x 2 2 way bass reflex 42Hz – 16kHz (-10dB) 10" 2 way bass reflex 70Hz – 20kHz (-10dB) 12" 2 way bass reflex 60Hz – 16kHz (-10dB) 15" 2 way bass reflex 55Hz – 16kHz (-10dB) protect your speakers, and at the same time 90 Power Capacity 175 watts (NOISE)* 250 watts (NOISE)* 500 watts (NOISE)* 125 watts (NOISE)* 175 watts (NOISE)* 250 watts (NOISE)* boosts frequencies from 60 Hz through 350 watts (PGM) 500 watts (PGM) 1000 watts (PGM) 250 watts (PGM) 350 watts (PGM) 500 watts (PGM) 150 Hz by about 3 or 4 dB which, as you 80 700 watts (MAX) 1000 watts (MAX) 2000 watts (MAX) 500 watts (MAX) 700 watts (MAX) 1000 watts (MAX) rocket scientists already know, is a sound- Nominal Impedance 8 ohms 8 ohms 4 ohms 8 ohms 8 ohms 8 ohms pressure-level boost of about 1.5 times. 70 Sensitivity 97dB 99dB 99dB 96dB 97dB 99dB P2500S And although this won't give you the bone- shaking bass of a subwoofer, it will make 60 LF Driver 12" cone 15" cone 15" cone x 2 10" cone 12" cone 15" cone 20 100 1k 10k HF Driver 2" vc, Titanium Horn 2" vc, Titanium Horn 2" vc, Titanium Horn 1" vc, Titanium Horn 2" vc, Titanium Horn 2" vc, Titanium Horn your bass and drums sound really cool. If FREQUENCY (Hz) Crossover Frequency 2kHz 1.7kHz 1.5kHz 1.8kHz 2kHz 1.7kHz you're reinforcing rock, turn it on. Finish S: Carpet, C: Sprayed S: Carpet, C: Sprayed S: Carpet, C: Sprayed S: Carpet, C: Sprayed S: Carpet, C: Sprayed S: Carpet, C: Sprayed Input Connectors 1/4" Phone x 2, 1/4" Phone x 2, 1/4" Phone x 2, 1/4" Phone x 2, 1/4" Phone x 2, 1/4" Phone x 2, Speakon x2 Speakon x2 Speakon x2 Speakon x2 Speakon x2 Speakon x2 S Dimensions (W x H x D mm) S: 420 x 632 x 333 S: 489 x 719 x 377 S: 495 x 1167 x 597 S: 560 x 353 x 277 S: 632 x 414 x 351 S: 719 x 483 x 343 pecifications Net Weight C: 416 x 628 x 329 S: 20.8 kg, C:21.3 kg C: 485 x 715 x 373 S: 29.4 kg, C: 30.3 kg C: 491 x 1163 x 593 S: 47.2 kg, C: 47.5 kg C: 556 x 349 x 273 S: 13.4 kg, C: 13.3 kg C: 628 x 410 x 339 S: 21.4 kg, C: 21.8 kg C: 715 x 479 x 339 S: 28.0 kg, C: 28.8 kg *EIA RS426A P7000S P5000S P3500S P2500S Club V S- & C- series Output Power 8 ohms/STEREO 750W+750W 525W+525W 390W+390W 275W+275W 20Hz – 20kHz 4 ohms/STEREO 1100W+1100W 750W+750W 590W+590W 390W+390W THD+N= 0.1% 8 ohms/BRIDGE 2000W 1500W 1180W 780W SW115V, CW115V SW118V, CW118V SW218V, CW218V C112VA C115VA THD+N 20Hz – 20kHz, half power ≤ 0.10% Type 15" Bass reflex 18" bass reflex 18" x 2 Bass reflex 12" 2 way bass reflex 15" bass reflex Intermodulation Distortion 60Hz: 7kHz, 4:1, half power ≤ 0.10% Frequency Range 35Hz – 2kHz (-10dB) 30Hz – 2kHz (-10dB) 30Hz – 2kHz (-10dB) 60Hz – 16kHz (-10dB) 55Hz – 16kHz (-10dB) Frequency Response Po=1W, RL=8 ohms 0dB, +0.5dB, -1dB f=20Hz – 50kHz Channel Separation half power RL=8 ohms Power Capacity 250 watts (NOISE)* 300 watts (NOISE)* 600 watts (NOISE)* 175 watts (NOISE)* 250 watts (NOISE)* ≥ 70dB 1kHz 500 watts (PGM) 600 watts (PGM) 1200 watts (PGM) 350 watts (PGM) 500 watts (PGM) Att.max input 600 ohms shunt 1000 watts (MAX) 1200 watts (MAX) 2400 watts (MAX) 700 watts (MAX) 1000 watts (MAX) Residual noise Att. min DIN AUDIO ≥ 70dB S/N ratio DIN AUDIO 104dB 103dB 102dB 100dB Nominal Impedance 8 ohms 8 ohms 4 ohms 8 ohms 8 ohms Voltage Gain Att.max 32.1dB Sensitivity 95dB 96dB 98dB 97dB 99dB Input Impedance 30K Ω (balance) 15k Ω (unbalance) LF Driver 15" cone 18" cone 18" cone x 2 12" cone 15" cone Connectors Input XLR-3-31 type/ch, 1/4""TRS/ch" HF Driver – – – 2" vc, Titanium Horn 2" vc, Titanium Horn Output SPEAKON, 5way biding post, 1/4""phone/ch" Crossover Frequency 90Hz, 12dB/Oct. 90Hz, 12dB/Oct. 90Hz, 12dB/Oct. 2kHz 1.7kHz Limiter Circuit comp. :THD ≥ 0.5% Finish S: Carpet, C: Sprayed S: Carpet, C: Sprayed S: Carpet, C: Sprayed Sprayed Sprayed Cooling Dual variable-speed fan Single variable-speed fan Input Connectors 1/4" Phone x 2, 1/4" Phone x 2, 1/4" Phone x 2, Barrier strip Barrier strip Power Requirements 20V 60Hz, 230V 50Hz, 240V 50Hz Speakon x2 Speakon x2 Speakon x2 Idle Power Consumption 35W 35W 30W 25W Dimensions (W x H x D mm) S: 506 x 611 x 532 S: 610 x 728 x 641 S: 1221 x 578 x 659 416 x 620 x 329 485 x 715 x 373 Maximum Power Consumption (4 ohms) 4000W 3000W 2000W 1600W C: 500 x 607 x 528 C: 605 x 720 x 637 C: 1217 x 574 x 655 Dimensions (W x H x D): mm 480 x 88 x 456 Net Weight S: 28.2 kg, C: 28.0 kg S: 39.0 kg, C: 37.2 kg S: 65.4 kg, C: 64.7 kg 21.8 kg 29.9 kg Weight 12kg 12kg 15kg 14kg *EIA RS426A • 0dB= 0.775V • half power=1/2 output power *Output power into 8Ω stereo (20Hz – 20kHz) on the P7000S 230V model is 650W + 650W. 28 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 29 Product Line UP— SR Speakers Product Line UP—SR Speakers BR-Series Speakers MSR400 MSR800W POWERED SPEAKER POWERED SUBWOOFER BR15 BR12 BR10 T here are many advantages to using powered speakers – the most obvious being that you don't have to drag separate power amplifiers around or find a convenient place to install them. Fewer cables need connection as well. There are, also, real sonic advantages. BR15M The performance of an amplifier/speaker system depends to a considerable degree on the matching between the power amplifier and loudspeaker; a surprisingly complex relationship BR12M that involves impedances, amplifier loading, reflected EMF, damping, and a variety of other factors best left to the guys with the scientific calculators. Fortunately, these things are pretty much standardized, so you can connect just about any speaker of the appropriate impedance and power handling capacity to an amplifier and get decent results. But in a powered speaker like the MSR400, or a powered subwoofer like the MSR800W, everything can be (and is) matched to perfection for optimum performance. All you have to do is connect your line or microphone-level source. For a simple system, you can use just a pair of MSR400s and a small mixer (actually, MSR400 these models have microphone inputs as well as line inputs, with gain controls, so in a pinch you can connect a microphone directly to the speaker). The MSR400 employs bi-amplification for the best possible sound across the entire audio spectrum. But if you want serious low end, we suggest that you pair each speaker with a MSR800W subwoofer that features a 800 watts power amplifier driving a 15" woofer in a specially designed bass-reflex enclosure that can deliver bass your audience will feel as well Great Sound and Easy handling as hear. A simple pole stand adaptor allows an MSR400 to be piggybacked on each MSR800W for optimum positioning, phasing, and overall sound. MSR800W W hether you're playing to a rock'n roll, jazz, or classic crowd, or delivering an important spoken message, Yamaha BR-Series speakers will ensure that you're heard clearly. With the right powered mixer, or standard mixer and power amplifiers, these units can pack a heck of a wallop … make that a "high-quality wallop." But when the show is done and it's time to tear down the system and go home, you'll appreciate these speakers a second time – they're compact, remarkably light for their power and performance, and are designed for easy handling. Piggyback Powerhouse S pecifications S pecifications BR-Series MSR400 MSR800W Type Amplified 2 way bass reflex powered speaker Amplified bass reflex powered subwoofer BR10 BR12 BR15 BR12M BR15M (Bi-amplified electronic cross over network) Type 10" 2 way bass reflex 12" 2 way bass reflex 15" 2 way bass reflex 12" 2 way bass reflex 15" 2 way bass reflex Frequency Range 50Hz – 20kHz (-10dB) 40Hz – 120Hz Frequency Range 65Hz – 20kHz (-10dB) 60Hz – 20kHz (-10dB) 60Hz – 20kHz (-10dB) 60Hz – 20kHz (-10dB) 60Hz - 20kHz (-10dB) Maximum Output Level (SPL) 121dB (1m) 122dB (1m) Power Capacity 125 watts (NOISE)* 150 watts (NOISE)* 200 watts (NOISE)* 150 watts (NOISE)* 200 watts (NOISE)* LF Driver 12" cone 15" cone 250 watts (PGM) 300 watts (PGM) 400 watts (PGM) 300 watts (PGM) 400 watts (PGM) HF Driver 1.75"V.C, Compression Driver – 500 watts (MAX) 600 watts (MAX) 800 watts (MAX) 600 watts (MAX) 800 watts (MAX) Maximum Output Power LF: 225W, RL= 4Ω 500W at 100Hz. THD=1%, RL=8Ω Nominal Impedance 8 ohms 8 ohms 8 ohms 8 ohms 8 ohms HF: 75W, RL=16Ω Burst Power: 800W Sensitivity 96dB 97dB 98dB 97dB 98dB Burst Power: 400W Total LF Driver 10" cone 12" cone 15" cone 12" cone 15" cone Input sensitivity LINE: +4dB* +4dB HF Driver 1" vc, Titanium Horn 1" vc, Titanium Horn 1" vc, Titanium Horn 1" vc, Titanium Horn 1" vc, Titanium Horn MIC: -36dB* – Finish Carpet Carpet Carpet Carpet Carpet Controls Level Control, EQ (High, Low), Power switch Master Level Control, Cutoff Freq. Control, Phase Switch, Power switch Input Connectors 1/4" Phone x 2 1/4" Phone x 2 1/4" Phone x 2 1/4" Phone x 2 1/4" Phone x 2 Connectors 1: XLR-3-31 balanced Input (ch-A & B): XLR-3-31 (balanced) Dimensions (W x H x D mm) 375 x 537 x 326 403 x 569 x 335 485 x 656 x 365 569 x 407 x 334 652 x 487 x 365 2: XLR-3-32 balanced THRU Out (ch-A & B): XLR-3-32 (balanced) Net Weight 14.4 kg 16 kg 21.3 kg 15.6 kg 20.9 kg 3: PHONE balanced High Pass Out (ch-A & B): XLR-3-32 (balanced) (100Hz, 18dB/oct, +4dB) *EIA RS426A Power Requirement AC120V 60Hz, AC230V 50Hz, AC240V 50Hz, AC220V 50Hz/60Hz, AC120V 60Hz, AC230V 50Hz, AC240V 50Hz, AC220V 50Hz AC110V 60Hz Power Consumption 110W 200W Finish Polypropylene Black sprayed Dimensions (W x H x D mm) 406 x 667 x 351 600 x 521 x 590 Net Weight 23kg 45 kg * 0dB=0.775V 4 Simple Steps To Better Sound Why use monitor speakers? While the purpose of the main or "FOH" (Front Of House) speakers is to deliver 5 Simple Steps To Better Sound the sound to the audience, monitor speakers are necessary to provide a sound reference to the speakers or musicians performing on stage. This was sometimes Boosting system power different sensitivity, only the louder speakers will be heard. Another option also known as "foldback". A monitor system allows performers to clearly hear is to add a subwoofer to beef up the low end. By reinforcing the lows you what they are saying, singing, or playing so that they can perform with If the people in the back row aren't hearing the performance with the effectively boost overall output. This is a good strategy for improving the confidence and provide performances of the highest quality. It may not be an intended impact, you can add speakers to boost the system's output. The sound in outdoor setups. If you're using Yamaha Club Series speakers, you exaggeration to say that a good monitor system is the key to a successful concert SM12V first thing to try would be adding an extra set of speakers parallel- can easily add a subwoofer adding an electronic crossover, or use the or event. connected with the main front speakers. In this case, it is important to add filters provided in the P-Series amplifiers. BR12M the same type of speakers as the originals. If you use speakers with 30 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 31 Product Line UP— SR Speakers Product Line UP—Portable PA System MSR100 STAGEPAS series POWERED SPEAKER PORTABLE PA SYSTEM W ith the MSR100's built-in three-channel line mixer and power amplifier, you can actually use it as an all-in-one PA system. The built-in mixer has independent gain controls on each of the three channels, as well as master level and master low and high EQ controls, a link out jack so you can connect to another MSR100, and a clip indicator. But the MSR100 also makes a great 100-watt powered speaker for use with a small mixer. MSR100's can be pole-mounted, wall-mounted, suspended, or stacked – anywhere you need them. Y amaha now offers to two ways to take your music to new places ... and hew heights! STAGEPAS 300 has already become the portable PA system of choice for legions of musicians on the move, and now the STAGEPAS 500 is available for situations Accessory Compartment The STAGEPAS 300 / 500 features a convenient storage compar tment in the speaker box for packing the included power cable, speaker cables, You can even lay them on their side for monitor service. The MSR100 is a serious contender in the sound category, too, with a top-performance 100-watt amplifier perfectly matched in which a little extra power and channel capacity is needed. The basics remain the owner's manual and it even has space for your own to a two-way speaker system consisting of a custom 8" woofer and 1" titanium diaphragm compression driver feeding a 90˚ x 40˚ horn. A durable molded enclosure with integral same: an incredibly lightweight, portable, easy-to-use PA system consisting of a pair microphone. Remove the rear panel of the speaker and put in the things you need. handle makes this one of the most portable, convenient speaker systems available. of high-performance speakers with a built-in powered mixer. You can be set up and playing in a matter of minutes, and then packed away and on the road again with the same ease and speed when you're done. And all of this is provided with no compromise in sound quality or versatility, plus some advanced features you normally wouldn't S pecifications expect to find in systems in this class. Whichever system you choose, you have a high- performance live-sound system that will deliver your music or message wherever you Built-in Powered Mixer B u i l t- i n m i x e r p r o v i d e s e a s y o p e r a t i o n a n d All In One Type MSR100 Amplified 2 way bass reflex powered speaker go, indoors or out. convenient portability. Can be used inside the cabinet or outside. Frequency Range 55Hz – 20kHz (-10dB) Maximum Output Level (SPL) 112dB (1m) LF Driver 8" Cone HF Driver 1" Compression Driver Maximum Output Power Input sensitivity 100W at 1kHz. THD=1%, RL=6Ω INPUT 1: -50dB*/+4dB* (with select SW) INPUT 2 & 3: -10dB* The "Docking" PA System for Controls Connectors Level Control, EQ (High, Low), Power switch INPUT 1: XLR-3-31 (balanced), INPUT 2&3: Phone (unbalanced), Ultimate Portability LINK OUT: Phone (unbalanced) Power Requirement 120V 60Hz,230V 50Hz, AC240V 50Hz Power Consumption 70W Finish Polypropylene MSR100 Dimensions (W x H x D mm) 275 x 455.5 x 255 Net Weight 11 kg * 0dB=0.775V MS100III POWERED MONITOR SPEAKER SYSTEM STAGEPAS 300 STAGEPAS 500 N othing beats these small powered monitors for performance and utility. The 10-watt MS101III is an equally fine choice for your desktop studio or point-of-sale sound in a retail outlet. In the former application, the superior sound of these remarkably accurate monitors can help you make better mixes, while in the latter you can broadcast line- fed program material, or plug a microphone directly into the front-panel mic jack when you want to grab your customers' attention. MS101III can be wall- or ceiling-mounted, or S pecifications conveniently mounted on a microphone stand. Ideal For Monitoring or Point-Of-Sale Sound S pecifications Maximum Output Power STAGEPAS 300 150W + 150W/6Ω @10% THD at 1kHz (SPEAKER L/R) STAGEPAS 500 250W + 250W/4Ω @10% THD at 1kHz (SPEAKER L/R) Frequency Response -3dB, 0dB, +1dB @20Hz − 20kHz, 1W Output/6Ω -3dB, 0dB, +1dB @20Hz – 20kHz (Without MUSIC/SPEECH, EQ and SP EQ Circuit) (SPEAKER L/R) [MUSIC/SPEECH] switch=MUSIC (MONITOR OUT) MS101III -3dB, 0dB, +1dB @20Hz – 20kHz, +4dBu 10k Ω load -3dB, 0dB, +1dB @80Hz – 20kHz Type Bass reflex. [MUSIC/SPEECH] switch=MUSIC (MONITOR OUT, REC OUT) [MUSIC/SPEECH] switch=SPEECH (REC OUT) Frequency Range 75Hz to 18kHz -3dB, 0dB, +1dB @20Hz−20kHz, 1W Output Maximum Output Level (SPL) 97dB (1m, 10W) (Without MUSIC/SPEECH, EQ and SP EQ Circuit) (SPEAKER L/R) Compornent 10-cm (4") full-range cone speaker x 1 Total Harmonic Distortion ≤ 1% @1kHz, 50W Output Power (SPEAKER L/R) 0.5% @20Hz, 1kHz, 20kHz, +14dBu 10k Ω (MONITOR OUT, REC OUT) Maximum Output Power 10W 0.5% @20Hz–20kHz, +14dBu 10k Ω (MONITOR OUT, REC OUT) Input sensitivity Mic: -45dB, Line1, 2:-10dB Hum & Noise ≤ -65dBu Residual output noise (SPEAKER L/R) ≤ -106dBu (CH1/2) Controls VOLUME, Tone (High, Low), Power switch (20Hz - 20kHz,Rs=150 Ω , MIC/LINE switch=MIC) ≤ -90dBu Residual output noise (MONITOR OUT, REC OUT) ≤ -112dBu (CH3/4) Connectors Line Inputs RCA pin-jack x 1 (rear panel), ≤ -67dBu @MONITOR OUT control & one CH LEVEL control at nominal level ≤ -65dBu Residual ooutput noise (SPEAKER L/R) Phone jack x 1 (front panel), (CH1–4) (MONITOR OUT) Microphone Input Phone jack x 1 (front panel), Crosstalk (1kHz) -70dB between input channels -70dB between input channels Line Output Phone jack x 1 (front panel) Dimensions (W x H x D mm) 275 x 456 x 255 (Speaker x 1) 342 x 545 x 298 (Speaker x 1) Power Requirement 120V 60Hz, 230/240V 50/60Hz 290 x 96 x 160 (Mixer) 330 x 12 x 175 (Mixer) Power Consumption 30W Weight 18 kg (mixer and two speakers) 24 kg (mixer and two speakers) Dimensions (W x H x D mm) 147 x 214 x 192 Power Consumption 70W 65W Net Weight 2.2 kg Stereo Input Channel Equalization Shelving turnover/rolloff frequency: 3dB before maximum cut or boost. Shelving turnover/rolloff frequency: 3dB before maximum cut or boost. ±15dB ±15dB HIGH 10kHz shelving HIGH 10kHz shelving LOW 100Hz shelving LOW 100Hz shelving MS101III Enclosure Bass-reflex type Bass-reflex type Speaker Unit LF: 8"(20cm) Cone LF: 10"(25cm) Cone HF: 1"(2.54cm) Compression Driver HF: 1"(2.54cm) Compression Driver Cross Over Frequency 4kHz 4kHz (LF: 12dB/oct, HF: 12dB/oct) Frequency Range 55Hz–20kHz 55Hz–20kHz (-10dB) Maximum Output Level 112dB (1m) 112dB (1m) 32 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 33 Product Line UP—Powered Monitor Speakers Product Line UP—Peripheral MSP STUDIO series speakers Speaker Brackets Wall Brackets Wall Brackets Batton Brackets Ceiling Brackets POWERED MONITOR SPEAKER For MSR100/ STAGEPAS300 For MSR400/STAGEPAS500 For MSR100/MSR400/ For MSR100/MSR400/ Y amaha's "STUDIO" series monitors have been designed without compromise for serious monitoring. Years of experience and development have been applied to achieve reference-quality reproduction precision that lets you hear sonic details, • BWS50-190 • BWS251-300 STAGEPAS300/STAGEPAS500 • BBS251 STAGEPAS300/STAGEPAS500 • BCS251 rather than flattering sound. These studio-class speakers carry on in the tradition of the venerable NS10M STUDIO, which was • BWS50-260 • BWS251-400 the definitive near-field monitor in an overwhelming majority of professional studios throughout the world for many years from the 80s onward. But technology has evolved dramatically right throughout the audio chain, and speakers must follow suit. • BWS50-320 The new top-of-the-line MSP7 STUDIO Powered Monitor Speaker is capable of delivering consistent quality and performance that you can rely on in modern production environments that handle any combination of digital and analog sources as well as stereo and surround formats, while the more compact dimensions of the MSP5 STUDIO make it an ideal choice for smaller MSP7 STUDIO project studios and DAW-based production systems. The SW10 STUDIO subwoofer has been designed specifically for optimum SW10 STUDIO matching with the MSP series speakers, and combined with either model in a stereo of surround system it can provide a MSP5 STUDIO seamlessly extended low end for accurate ultra-wide-range monitoring. Refined Monitoring Precision S pecifications MSP5 STUDIO MSP7 STUDIO SW10 STUDIO General Specifications Type Biamp 2-way Powered speaker Biamp 2-way Powered Speaker Powered Subwoofer Crossover Frequency 2.5kHz, LF: 24dB/oct, HF: 24dB/oct 2.5kHz, LF: 30dB/oct, HF: 30dB/oct – Overall Frequency Response 50Hz – 40kHz (-10dB) 45Hz – 40kHz (-10dB) 25Hz – 150Hz (-10dB) Dimensions (W x H x D mm) 179 x 208 x 279 218 x 235 x 330 328 x 476 x 459 Weight 7.9 kg 12.2 kg 26.5 kg Speaker Components Speaker Components LF: 5" cone, HF: 1.0" Titanium dome LF: 6.5" cone, HF: 1.0" Titanium dome LF: 10" cone Enclosure Type Bass-Reflex Type Bass-Reflex Type Bass-Reflex Type Material PP PP MDF Magnetic shielding Yes Yes Yes Amp. Unit Output Power LF: 40W, THD = 0.02 %, RL = 4Ω, LF: 80W, THD = 0.05 %, RL = 4Ω, LF: 180W, f = 100Hz, THD = 1 %, RL = 8Ω HF: 27W, THD = 0.02 %, RL = 6Ω HF: 50W, THD = 0.05 %, RL = 6Ω Input Sensitivity XLR-3-31: +4dBu, LEVEL = Center, -6dBu, LEVEL = Max XLR-3-31: +4dBu, LEVEL = Center, -6dBu, XLR-3-31: +4dBu, LEVEL = Center, -6dBu, PHONE: -10dBu, LEVEL = Center, -20dBu, LEVEL = Max PHONE: -10dBu, LEVEL = Center, -20dBu, PHONE: -10dBu, LEVEL = Center, -20dBu, Input Impedance 10k Ω 10 k Ω 10 k Ω Input Connectors Output Connectors 1: XLR-3-31 type (balanced) 2: PHONE (unbalanced) — XLR-3-31 type (balanced) — XLR-3-31 type x 3 (balanced) XLR-3-32 type x 3 (balanced) (parallel) Rack Mount Adapters Mic Stand Adapter Controls LEVEL control: 31 Positions Detent type VR (Min = - ∞ Attenuation), LEVEL control: 31 Positions Detent type VR (Min = - ∞ Attenuation), LEVEL control: Center Click VR (Min = - ∞ Attenuation), HIGH CUT control: 40 – 120Hz, 80Hz at Center Click, RK512 RK5014 RK-1 BMS-10A LOW TRIM: +1.5/0/-1.5/-3 dB at 60 Hz, LOW CUT switch: FLAT/80/100Hz (12dB/oct), PHASE switch: NORM./REV. HIGH TRIM: +1.5/0/-1.5 dB at 15 kHz, LOW TRIM: +1.5/0/-1.5/-3dB at 45Hz, HIGH TRIM: +1.5/0/-1.5dB at 15kHz, Power Consumption 60W 100W 160W HS series speakers For EMX512SC/ For MG82CX/MG102C/ EMX312SC/ For EMX5014C/ STAGEPAS 300 (Mixer only)/ EMX212C EMX5016CF For 01V96V2 STAGEPAS 500 (Mixer only) High-performance Speakers and POWERED MONITOR SPEAKER Mounting System W hen choosing reference monitors for mixing and music production, what you really need is an honest reference for your mix rather than sound that has been tweaked or colored to sound impressive at the expense of accuracy. Unlike Foot Switch Headphone speakers that have exaggerated bass and treble that make a good first impression but can't be relied on for accuracy, Yamaha FC4 FC5 RH-5MA HS series reference monitors have been painstakingly crafted by our studio monitor engineering team to deliver exceptionally flat, accurate response that you can trust. The HS series speakers are true studio reference monitors in the tradition of the legendary Yamaha NS10M. Whether you're mixing for stereo or 5.1 surround, mixes that sound good on Yamaha HS series reference monitors will translate accurately to the widest possible range of reproduction systems ... which is engineer-speak that means they'll sound good on anything. And that is the ultimate goal of any reference monitor. We should also mention that the HS-series monitors not only sound great, they look great, too. HS50M HS10W HS80M S pecifications Mini-YGDAI Compatible Cards For 01V96V2 HS50M HS80M HS10W General Specifications Type Biamp 2-way Powered speaker Biamp 2-way Powered speaker Powered Subwoofer Crossover Frequency 3kHz 2kHz – mini-YGDAI card Name Function Input Output mini-YGDAI card Name Function Input Output Overall Frequency Response 55Hz – 20kHz (-10dB) 42Hz – 20kHz (-10dB) 30Hz – 180Hz (-10dB) Dimensions (W x H x D mm) 165 x 268 x 222 250 x 390 x 332 300 x 350 x 386 MY8-AE AES/EBU 8 In 8 Out MY8-ADDA96 Analog In/Out 8 In 8 Out Weight 5.8 kg 11.3 kg 12.5 kg Speaker Components Speaker Components LF: 5" cone, HF: 0.75" Dome LF: 8" cone, HF: 1" Dome LF: 8" cone Enclosure Type Bass-Reflex Type Bass-Reflex Type Bass-Reflex Type MY8-AT ADAT 8 In 8 Out MY8-AE96 AES/EBU 8 In 8 Out Material MDF MDF MDF Magnetic shielding Yes Yes Yes MY8-TD TASCAM 8 In 8 Out MY8-AE96S AES/EBU 8 In 8 Out Amp. Unit Output Power LF: 45W, 4Ω, HF: 25W, 8Ω LF: 75W, 4Ω, HF: 45W, 8Ω LF: 150W, 4Ω Input Sensitivity XLR-3-31: -10 dBu, PHONE: (parallel) XLR-3-31: -10dBu, PHONE: (parallel) XLR-3-31: -10dBu, PHONE: (parallel) Input Impedance 10k Ω 10k Ω 10k Ω MY4-AD Analog In 4 In — MY16-AT ADAT 16 In 16 Out Input Connectors 1: XLR-3-31 type (balanced) 1: XLR-3-31 type (balanced) 1: XLR-3-31 type (balanced) 2: PHONE (balanced) (parallel) 2: PHONE (balanced) (parallel) 2: PHONE (balanced) (parallel) Output Connectors — – 1: XLR-3-32 type (balanced) x 1 (EXT SUB) MY8-AD24 Analog In 8 In — MY16-TD TASCAM 16 In 16 Out 2: XLR-3-32 type (balanced) x 2 (L&R) Controls LEVEL control: +4dB, center click, LEVEL control: +4dB, center click, LEVEL control: VR, LOW CUT switch: ON/OFF, MY8-AD96 Analog In 8 In — MY16-AE AES/EBU 16 In 16Out LOW CUT switch: FLAT/80/100Hz, 12dB/octave, LOW CUT switch: FLAT/80/100Hz, 12dB/octave, LOW CUT control: 80 – 120Hz at Center Click, HIGH TRIM: +2/0/-2dB at 3kHz (HF), HIGH TRIM: +2/0/-2dB at 3kHz (HF), HIGH CUT control: 80 – 120Hz at Center Click, EQ: MID: +2/0/- 2dB at 2kHz, EQ: MID: +2/0/- 2dB at 2kHz, PHASE switch: NORM./REV. MY4-DA Analog Out — 4 Out MY16-CII CobraNet 16 In 16 Out ROOM CONTROL: 0/-2/-4dB under 500Hz ROOM CONTROL: 0/-2/-4 dB under 500Hz Power Consumption 45 W 60W 70W MY8-DA96 Analog Out — 8 Out MY16-mLAN mLAN 16 In 16 Out 34 Yamaha Sound Reinforcement 2007 Yamaha Sound Reinforcement 2007 35 LPA-532 This document is printed on chlorine-free (ECF) paper with soy ink. Printed in Japan
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