User manual YAMAHA PSS-790

[. . . ] Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. [. . . ] Is it a song in which the vocals are the most important element? + 20 dBu 0 dBu -20 dBu -40 dBu -60 dBu 0. 775 V Most professional mixers, power amplifiers, and other types of equipment have inputs and outputs with a nominal level of +4 dBu. The inputs and outputs on home-use audio gear usually have a nominal level of ­10 dBu. Microphone signal levels vary over a wide range depending on the type of microphone and the source. Average speech is about ­30 dBu, but the twittering of a bird might be lower than ­50 dBu while a solid bass drum beat might produce a level as high as 0 dBu. EMX512SC/EMX312SC/EMX212S 15 BASIC Making the Most of Your Mixer If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal first (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound. The fundamental and harmonic musical instruments. Piano Bass Drum frequency ranges of some Cymbal Snare Drum Bass Guitar Trombone Trumpet 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) Fundamental: The frequency that determines the basic musical pitch. Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument. Some Frequency Facts The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20, 000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3, 000 Hz. 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. Delay times can be adjusted to create a wide variety of "grooves", and you need to select the time that best suits the music. When adding delay to a vocal, for example, try Signal Level (dB) LOW Flat HIGH Flat LOW Cut MID Cut Frequency (Hz) HIGH Cut setting the delay time to dotted eighth notes corresponding to the tune's tempo. Reverb Tone Different reverb programs will have different "reverb tone" due to differences in the reverb time of the high or low frequencies, or differences in the overall frequency response of the reverb sound. Always be careful not apply too much reverb, particularly in the high frequencies. In addition to resulting in unnatural sound, excessive high-frequency reverb can interfere with the high frequencies in other parts of the mix. If you can hear more reverb than direct sound in the upper frequency range, try selecting a different effect program. It's always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix. Ambience Your mixes can be further refined by adding ambience effects such as reverb or delay. On the EMX mixers these effects are built in. The internal DSP (Digital Signal Processor) can be used to add reverb or delay to individual channels in the same way as external effects processors, with the extra connections required by, or the loss in sound quality often Reverb Level It's amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly fine. To avoid falling into this trap start with reverb level all EMX512SC/EMX312SC/EMX212S 17 BASIC Making the Most of Your Mixer the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a "special effect. " You don't want reverb to dominate the mix unless you are trying to create the effect of a band in a cave--which is a perfectly legitimate creative goal if that's the sort of thing you're aiming for. The Modulation Effects: Phasing, Chorus, and Flanging All of these effects work on basically the same principle: a portion of the audio signal is "time-shifted" and then mixed back with the direct signal. The amount of time shift is controlled, or "modulated", by an LFO (Lowfrequency Oscillator). [. . . ] *2 Phone Jacks are unbalanced. ­10 dBV (316 mV) +10 dBV (3. 16 V) Specifications and descriptions in this owner's manual are for information purposes only. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. EMX512SC/EMX312SC/EMX212S 33 Specifications Dimensional Diagrams 264 442. 5 2. 5 440 286 2 284 66. 1 71 307. 8 298 66. 1 71 108 54 Unit: mm 34 EMX512SC/EMX312SC/EMX212S Specifications Block Diagram and Level Diagram EMX512SC/EMX312SC/EMX212S 35 For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. 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. [. . . ]