User manual YAMAHA EMX512SC

[. . . ] POWERED MIXER POWERED MIXER Owner's Manual Quick Guide Pages 6 to 12 Making the Most of Your Mixer Pages 13 to 19 EN Explanation of Graphical Symbols CAUT I ON RISK OF ELECTRIC SHOCK DO NOT OPEN The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The above warning is located on the rear of the unit. IMPORTANT SAFETY INSTRUCTIONS 1 2 3 4 5 6 7 8 Read these instructions. Install in accordance with the manufacturer's instructions. [. . . ] The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the "A3" key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i. e. In the same way you can halve the frequency to 220 Hz to produce "A2" an octave lower. The frequencies controlled by the LOW, MID, and HIGH bands on this mixer have been specifically selected to provide the most "musical" range of adjustment with the widest possible range of instruments (100Hz, 2, 500 Hz, and 10, 000 Hz, respectively). Example2: Funky R&B Groove The approach will be totally different if you're mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the "drive" or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrument-- with the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well. To EQ or Not to EQ In general: less is better. There are many situations in which you'll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better definition. Bad EQ--and most commonly bad boost--just sounds terrible. Cut for a Cleaner Mix For example: cymbals have a lot of energy in the mid and low frequency ranges that you don't really perceive as musical sound, but which can interfere with the clarity of other instruments in these ranges. You can basically turn the low EQ on cymbal channels all the way down without changing the way they sound in the mix. You'll hear the difference, however, in the way the mix sounds more "spacious, " and instruments in the lower ranges will have better definition. Surprisingly enough, piano also 16 EMX512SC/EMX312SC/EMX212S BASIC Making the Most of Your Mixer has an incredibly powerful low end that can benefit from a bit of low-frequency roll-off to let other instruments--notably drums and bass--do their jobs more effectively. Naturally you won't want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. You'll have to use your ears, though, because each instrument is different and sometimes you'll want the "snap" of a bass guitar, for example, to come through. MID Boost LOW Boost MID Flat HIGH Boost Boost with Caution If you're trying to create special or unusual effects, go ahead and boost away as much as you like. But if you're just trying to achieve a good-sounding mix, boost only in very small increments. A tiny boost in the midrange can give vocals more presence, or a touch of high boost can give certain instruments more "air. " Listen, and if things don't sound clear and clean try using cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity. One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise and potentially overloading the subsequent circuitry. caused by external processing. You need to be careful not to overdo effects, however, because going to far can undermine the clarity and quality of your mix. [. . . ] Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 THE NETHERLANDS Yamaha Music Central Europe, Branch Nederland Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 ASIA THE PEOPLE'S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co. , Ltd. 25/F. , United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211 BELGIUM/LUXEMBOURG Yamaha Music Central Europe GmbH, Branch Belgium Rue de Geneve (Genevastraat) 10, 1140 - Brussels, Belgium Tel: 02-726 6032 U. S. A. Yamaha Corporation of America 6600 Orangethorpe Ave. , Buena Park, Calif. [. . . ]