Yamaha emx 212s инструкция на русском

• Page 1
  POWERED MIXER POWERED MIXER Owner’s Manual Owner’s Manual Quick Guide Pages 6 to 12 Making the Most of Your Mixer Pages 13 to 19…

• Page 2: Important Safety Instructions

  Please record the serial number of this unit in the space below. Model: Serial No.: The serial number is located on the bottom or rear of the unit. Retain this Owner’s Manual in a safe place for future reference. EMX512SC/EMX312SC/EMX212S…

• Page 3
  AC outlet. Then have the adequate space between the device and surrounding walls or other devices: at device inspected by qualified Yamaha service personnel. least 10 cm at the sides, 25 cm behind and 15 cm above. Inadequate ventilation •…

• Page 4: About This Manual

  Yamaha cannot be held responsible for damage caused by improper use or modifications to the device. Always turn the power off when the device is not in use. The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualifi ed Yamaha service personnel about replacing defective components.

• Page 5: Table Of Contents

  Thank you for your purchase of this Yamaha EMX512SC, EMX312SC, or EMX212S power mixer. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of your mixer’s superlative features and enjoy trouble-free operation for years to come. After reading the manual, please store it in a safe place.

• Page 6: Basic

  Before turning power on, make sure that the LEVEL and MASTER knobs are set to the “0” position. Push the POWER switch in to turn the power ON. The power lamp lights up to indicate that power is on. To turn the power off, push the switch again, so that it pops out. EMX512SC/EMX312SC/EMX212S…

• Page 7: Getting Sound To The Speakers

  (guitar amp), or an amp simulator. Never connect both A and B jacks to a single speaker. Con- nection of both jacks to the same speaker may result in damage to the mixer. EMX512SC/EMX312SC/EMX212S…

• Page 8
  BASIC Quick Guide Turn the LEVEL knobs and the MASTER knobs to 0. This position This position Set the POWER AMP switch to its upper position (to MAIN L-R). For information about this switch, see page 25. EMX512SC/EMX312SC/EMX212S…
• Page 9
  It is also recom- mended that you set both MASTER knobs to their “0” position. Neglect of these precautions may result in damage to speakers, to other equipment, or to your ears. EMX512SC/EMX312SC/EMX212S…
• Page 10
  flash on briefly at times, but if they remain lit con- tinuously then there is risk of damage to your speakers or to the internal amp. Reduce the MASTER knob setting so that these lamps do not stay on. EMX512SC/EMX312SC/EMX212S…

• Page 11: Adding Some Reverb

  REVERB STAGE 2 PHASER 7 7 7 7 E E E E REVERB PLATE AUTO WAH 8 8 8 8 F F F F DRUM AMBIENCE DISTORTION Use the channel EFFECT knobs to adjust the effect depth for each channel. EMX512SC/EMX312SC/EMX212S…

• Page 12: Using The Compressors To Enhance Vocals

  Adjust the COMP knobs on the relevant channels. Turn the knob clockwise to increase the compression. Avoid setting the value too high, as too much compression may lead to howling. For more information about the compressors, see pages 18 and 21. EMX512SC/EMX312SC/EMX212S…

• Page 13: Making The Most Of Your Mixer

  If the switchboards. Phone jacks can be corresponding circuitry is tricky because you can’t always designed properly, however, XLR- tell what type of signal they’re EMX512SC/EMX312SC/EMX212S…

• Page 14: Balanced, Unbalanced-What’s The Difference

  Short line-level runs: Unbalanced lines are fine if you’re in a audio signal is left intact. Clever, relatively noise-free environment. Long line-level runs: The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best. EMX512SC/EMX312SC/EMX212S…

• Page 15: Signal Levels And The Decibel

  –50 dBu while a solid bass 100 times. -60 dBu drum beat might produce a level as high as 0 dBu. A mixer may be required to handle signals at a wide range of EMX512SC/EMX312SC/EMX212S…

• Page 16: To Eq Or Not To Eq

  Once again, there are no however, in the way the mix rules, but these are concepts that sounds more “spacious,” and have been proven to work well. instruments in the lower ranges will have better definition. Surprisingly enough, piano also EMX512SC/EMX312SC/EMX212S…

• Page 17: Ambience

  To avoid falling into suits the music. When adding this trap start with reverb level all delay to a vocal, for example, try EMX512SC/EMX312SC/EMX212S…

• Page 18: The Modulation Effects: Phasing, Chorus, And Flanging

  LFO, and recombined with the direct signal. In addition to the comb- filter effect described above, the delay modulation in these effects causes a perceived pitch shift INPUT which, when mixed with the direct EMX512SC/EMX312SC/EMX212S…

• Page 19
  You’re using a high-tech tool to do the mixing, but the mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music. EMX512SC/EMX312SC/EMX212S…

• Page 20: Controls And Connectors

  EFFECT bus. LEVEL knob Adjusts the signal’s output level. Use these knobs to adjust the volume balance among the various channels. To reduce noise, set the knobs for unused channels to NOTE “0”. EMX512SC/EMX312SC/EMX212S…

• Page 21: Compressors (Emx512Sc And Emx312Sc Only)

  PHANTOM switch P to its ON position. Cold (–) Ground Hot (+) • You cannot use both jacks at the same time. NOTE • The signal into an INPUT jack is sent in equal lev- els to the MAIN L and MAIN R buses. EMX512SC/EMX312SC/EMX212S…

• Page 22: Digital Effects Section

  Parameter This phone input jack can connect to the (separately REVERB HALL 1 REVERB TIME sold) YAMAHA FC5 foot switch. With the foot switch REVERB HALL 2 REVERB TIME connected, you can use your foot to toggle the internal REVERB ROOM 1 REVERB TIME effector ON and OFF.

• Page 23: Main Section

  OUT jacks is not adjusted by the MAIN section’s MAS- TER knob G and graphic equalizer E. Since this output signal is not adjusted by the MAIN NOTE section’s MASTER knob , you should adjust the level as necessary at the recording side. EMX512SC/EMX312SC/EMX212S…

• Page 24: Monitor Section

  You would typically connect this jack to pow- ered speakers used for monitoring. The signal sent to this jack is adjusted by the MONITOR section’s MASTER knob M and the settings of the MONITOR section’s graphic equalizer K. EMX512SC/EMX312SC/EMX212S…

• Page 25: Power Section

  MONITOR section’s MASTER knob M adjusts the level to the B jacks. YS Processing switch This switch turns Yamaha Speaker Processing on or off. PHANTOM switch The processor adjusts the speaker’s bass ranges so as to This switch toggles +15V phantom power on and off. If compensate, for example, for lack of subwoofers.

• Page 26: Rear Panel

  AC mains outlet. If the AC outlet is not 2– grounded, be sure to ground the unit by using this ground screw. Correct grounding will effectively elimi- nate hum noise and interference. A2, B2: Phone output jacks. EMX512SC/EMX312SC/EMX212S…

• Page 27: Connecting Speakers

  When connecting speakers in parallel as shown below, use with impedance of 4 ohms to 8 ohms. speakers with impedance of 8 ohms to 16 ohms. 4Ω to 8Ω 4Ω to 8Ω 8Ω to 16Ω 8Ω to 16Ω 8Ω to 16Ω 8Ω to 16Ω EMX512SC/EMX312SC/EMX212S…

• Page 28: Horizontal Orientation, Tilting And Rack Mounting

  ■ How to attach the rubber stabilizers Turn the EMX unit upside down. Turn the EMX right-side up. Attach the two rubber stabilizers that were included with the unit. Push each stabilizer all the way in so that they are firmly in place. stabilizer EMX512SC/EMX312SC/EMX212S…

• Page 29: Tilting

  NOTE Using the kit’s 4 screws, attach the kit’s 2 metal fittings RK512 Rack mount Kit as shown below. Screws Fittings Turn the EMX right-side up. ■ How to install the rack-mount hardware Turn the EMX unit upside down. EMX512SC/EMX312SC/EMX212S…

• Page 30: Setting Up

  CS 2 CS 3 CS 4 VOLUME ZONE 1 ZONE 2 ZONE 3 ZONE 4 CD Player Bass Power Amp Foot Switch (YAMAHA FC5) Microphones Microphones Monitor Speakers Drums Rear Panel EMX Installation Intake Exhaust At least 10 cm At least…

• Page 31: Troubleshooting

  ❑ Are the channel LEVEL knobs and the two MASTER knobs set to appro- priate levels? ❑ Check that the speaker cables are not shorted. ❑ If the above checks do not identify the problem, call Yamaha for service. (Refer to the end of this manual for a list of Yamaha dealers.) ■…

• Page 32: Specifications

  Both ch drive, 1 kHz, Maximum Output Power SPEAKERS OUT EMX312SC < = 8 Ω THD+N 0.5% 4 Ω EMX212S 8 Ω Input Output Conditions UNIT MAIN OUT, MONITOR OUT, 10 kΩ CH1-4 MIC/LINE: MIC –3.0 EFFECT OUT, REC OUT…

• Page 33: Input Characteristics

  *2 Phone Jacks are unbalanced. Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. 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.

• Page 34: Dimensional Diagrams

  Specifications Dimensional Diagrams 442.5 66.1 307.8 66.1 Unit: mm EMX512SC/EMX312SC/EMX212S…

• Page 35: Block Diagram And Level Diagram

  Specifications Block Diagram and Level Diagram EMX512SC/EMX312SC/EMX212S…

• Page 36
  Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. 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. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo.

Инструкция ресивера и усилителя Yamaha EMX-212S_EMX-312SC_EMX-512SC

Информация отображена на картинке

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Yamaha EMX-212S / EMX-312SC / EMX-512SC инструкция по эксплуатации
(36 страниц)

é„‡Ì˚ ÛÔ‡‚ÎÂÌËfl Ë ‡Á˙ÂÏ˚

6 ê„ÛÎflÚÓ COMP (ÚÓθÍÓ EMX512SC Ë EMX312SC)

INPUT B: ÏËÍÓÙÓÌÌ˚È ·‡Î‡ÌÒÌ˚È ‚ıÓ‰ XLR-ÚËÔ‡

àÒÔÓθÁÛÂÚÒfl ‰Îfl „ÛÎËÓ‚ÍË ÛÓ‚Ìfl ÍÓÏÔÂÒÒËË Í‡Ì‡Î‡.

(1: ÁÂÏÎfl, 2: „Ófl˜ËÈ, 3: ıÓÎÓ‰Ì˚È). èË

èË ÔÓ‚ÓÓÚ „ÛÎflÚÓ‡ ‚Ô‡‚Ó ÏËͯÂ ‡‚ÚÓχÚ˘ÂÒÍË

ÔÓ‰Íβ˜ÂÌËË ÍÓ̉ÂÌÒ‡ÚÓÌÓ„Ó ÏËÍÓÙÓ̇

ÔÓ‰ÌËÏÂÚ ÍÓ˝ÙÙˈËÂÌÚ ÍÓÏÔÂÒÒËË, ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ

Ó·flÁ‡ÚÂθÌÓ ÔÂ‚‰ËÚ ÔÂÂÍβ˜‡ÚÂθ

„ÛÎËÛfl ‚˚ıÓ‰ÌÓ ÛÒËÎÂÌËÂ. Ç ÂÁÛθڇÚ ÏÓÊÌÓ

PHANTOM P ‚ ÔÓÎÓÊÂÌËÂ ON.

ÔÓÎÛ˜ËÚ¸ ·ÓΠÛÁÍËÈ Ë Ó‚Ì˚È ‰Ë̇Ï˘ÂÒÍËÈ ‰Ë‡Ô‡ÁÓÌ

ËÁ-Á‡ ÒÏfl„˜ÂÌËfl Ò˄̇ÎÓ‚ Ò ‚˚ÒÓÍËÏ ÛÓ‚ÌÂÏ „ÓÏÍÓÒÚË Ë

Û‚Â΢ÂÌËfl Ó·˘Â„Ó ÛÓ‚Ìfl. ëÚ‡‡ÈÚÂÒ¸ ËÁ·Â„‡Ú¸

ÛÒÚ‡ÌÓ‚ÍË ‚˚ÒÓÍÓ„Ó Á̇˜ÂÌËfl „ÛÎflÚÓ‡, ÔÓÒÍÓθÍÛ

ËÁÎ˯Ìflfl ÍÓÏÔÂÒÒËfl Ò˄̇· ÏÓÊÂÚ ÔË‚ÂÒÚË Í

ÒÓÁ‰‡Ì˲ ‡ÍÛÒÚ˘ÂÒÍÓÈ Ó·‡ÚÌÓÈ Ò‚flÁË.

7 èÂÂÍβ˜‡ÚÂθ LINE/MIC (͇̇Î˚ 1–4)

èÂ‚‰ËÚ ˝ÚÓÚ ÔÂÂÍβ˜‡ÚÂθ ‚ ÔÓÎÓÊÂÌËÂ,

• çÂθÁfl Ó‰ÌÓ‚ÂÏÂÌÌÓ ËÒÔÓθÁÓ‚‡Ú¸ Ó·‡ ˝ÚË

ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ÚËÔÛ ÔÓ‰‡‚‡ÂÏÓ„Ó ‚ıÓ‰ÌÓ„Ó Ò˄̇· —

‡Á˙Âχ.

Ò˄̇· ÏËÍÓÙÓÌÌÓ„Ó (ÌËÁÍÓ„Ó) ÛÓ‚Ìfl ËÎË Ò˄̇·

ÎËÌÂÈÌÓ„Ó (‚˚ÒÓÍÓ„Ó) ÛÓ‚Ìfl. èÂ‚‰ËÚ ÔÂÂÍβ˜‡ÚÂθ

• ë˄̇Î, ÔÓÒÚÛÔ‡˛˘ËÈ ˜ÂÂÁ ‡Á˙ÂÏ INPUT,

ÔÓ‰‡ÂÚÒfl Ò Ó‰Ë̇ÍÓ‚˚ÏË ÛÓ‚ÌflÏË ‚ ¯ËÌ˚ MAIN

‚ ÔÓÎÓÊÂÌË LINE ( ) ÔË ÔÓ‰Íβ˜ÂÌËË ËÒÚÓ˜ÌË͇

L Ë MAIN R.

Ò˄̇· ÎËÌÂÈÌÓ„Ó ÛÓ‚Ìfl, ̇ÔËÏÂ Í·‚ˇÚÛ˚ ËÎË

‡Û‰ËÓÛÒÚÓÈÒÚ‚‡. èÂ‚‰ËÚ ÔÂÂÍβ˜‡ÚÂθ ‚ ÔÓÎÓÊÂ-

9 ÉÌÂÁ‰‡ LINE Ë MIC (͇̇Î˚ 5/6–11/12)

ÌË MIC ( ) ÔË ÔÓ‰Íβ˜ÂÌËË ÏËÍÓÙÓ̇ ËÎË ‰Û„Ó„Ó

ÛÒÚÓÈÒÚ‚‡ Ò Ò˄̇ÎÓÏ ÏËÍÓÙÓÌÌÓ„Ó ÛÓ‚Ìfl.

ùÚÓ „ÌÂÁ‰‡ ‰Îfl ‚‚Ó‰‡ ÒÚÂÂÓÒ˄̇ÎÓ‚. àÒÔÓθÁÛÈÚ Ëı,

˜ÚÓ·˚ ÔÓ‰Íβ˜‡Ú¸ Ú‡ÍË ÒÚÂÂÓÛÒÚÓÈÒÚ‚‡, ͇Í

ÇÓ ËÁ·ÂʇÌË ÔÓ‚ÂʉÂÌËfl ‰Ë̇ÏËÍÓ‚, Ó·flÁ‡ÚÂθÌÓ

ÒÚÂÂÓÒËÌÚÂÁ‡ÚÓ ËÎË ÔÓË„˚‚‡ÚÂθ ÍÓÏÔ‡ÍÚ—‰ËÒÍÓ‚.

‚˚Íβ˜‡ÈÚ ÔËÚ‡ÌË ҇ÏÓ„Ó ÏËͯÂ‡ EMX Ë ‚ÒÂı

ÓÒڇθÌ˚ı ÛÒËÎËÚÂÎÂÈ ÏÓ˘ÌÓÒÚË Ë ‡ÍÚË‚Ì˚ı ÍÓÎÓÌÓÍ,

ÉÌÂÁ‰‡ LINE: Ň·ÌÒÌ˚ ÒÚÂÂÓ‚ıÓ‰˚. ç‡ Í‡Ì‡Î¸Ì˚ı

ÔÂʉ ˜ÂÏ ÔÂ‚ӉËÚ¸ ˝ÚÛ ÍÌÓÔÍÛ ‚ ÔÓÎÓÊÂÌË LINE

Ô‡‡ı 5/6 Ë 7/8 ˝ÚÓ ¯ÚÂÍÂÌ˚ „ÌÂÁ‰‡, ̇

ËÎË MIC. äÓÏ ÚÓ„Ó, ÔÂʉ ˜ÂÏ Ì‡ÊËχڸ ˝ÚÛ ÍÌÓÔÍÛ,

͇̇θÌ˚ı Ô‡‡ı 9/10 Ë 11/12 — RCA.

ÂÍÓÏẨÛÂÚÒfl ÔÓ‚Ó‡˜Ë‚‡Ú¸ ‚Ò „ÛÎflÚÓ˚ „ÓÏÍÓÒÚË

‚˚ıÓ‰ÌÓ„Ó Ò˄̇· (Û˜ÍË LEVEL, MASTER Ë Ú.‰.) ‚

ÉÌÂÁ‰Ó MIC: 緇·ÌÒÌ˚È ‚ıÓ‰ÌÓÈ ÏËÍÓÙÓÌÌ˚È

ÏËÌËχθÌÓ ÔÓÎÓÊÂÌËÂ, ˜ÚÓ·˚ ËÁ·Âʇڸ ËÒ͇

ÒÚÂÂÓ‡Á˙ÂÏ XLR-ÚËÔ‡. èË ÔÓ‰Íβ˜ÂÌËË

‚ÓÁÌËÍÌÓ‚ÂÌËfl „ÓÏÍËı Á‚ÛÍÓ‚, ÍÓÚÓ˚Â ÏÓ„ÛÚ ÔË‚ÂÒÚË

ÍÓ̉ÂÌÒ‡ÚÓÌÓ„Ó ÏËÍÓÙÓ̇ Ó·flÁ‡ÚÂθÌÓ

Í ÔÓÚÂ ÒÎÛı‡ ËÎË ÔÓ‚ÂʉÂÌ˲ ÛÒÚÓÈÒÚ‚‡.

ÔÂ‚‰ËÚ ÔÂÂÍβ˜‡ÚÂθ PHANTOM P

‚ ÔÓÎÓÊÂÌËÂ ON.

8 ÉÌÂÁ‰‡ INPUT A Ë INPUT B (͇̇Î˚ 1–4)

•ÉÌÂÁ‰‡ LINE Ë MIC ͇̇θÌÓÈ Ô‡˚ ÏÓÊÌÓ

àÒÚÓ˜ÌËÍ ‚ıÓ‰ÌÓ„Ó Ò˄̇· ÏÓÊÌÓ ÔÓ‰Íβ˜ËÚ¸ Í Î˛·ÓÏÛ

ËÒÔÓθÁÓ‚‡Ú¸ Ó‰ÌÓ‚ÂÏÂÌÌÓ. é‰Ì‡ÍÓ Ó·‡ÚËÚÂ

„ÌÂÁ‰Û. é·flÁ‡ÚÂθÌÓ ÔÂ‚‰ËÚ ÔÂÂÍβ˜‡ÚÂθ LINE/MIC

‚ÌËχÌË ̇ ÚÓ, ˜ÚÓ ÛÓ‚ÌË Ì ۉ‡ÒÚÒfl ÛÒÚ‡ÌÓ‚ËÚ¸

7 ‚ ÔÓÎÓÊÂÌËÂ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ÔÓ‰Íβ˜‡ÂÏÓÏÛ

‡Á‰ÂθÌÓ.

ÛÒÚÓÈÒÚ‚Û.

• ë˄̇Î˚, ÔÓÒÚÛÔ‡˛˘Ë ˜ÂÂÁ „ÌÂÁ‰‡ LINE L Ë LINE

INPUT A: ·‡Î‡ÌÒÌ˚È ÎËÌÂÈÌ˚È ‚ıÓ‰ÌÓÈ ¯ÚÂÍÂÌ˚È

R, ÌÂÁ‡‚ËÒËÏÓ ÔÂ‰‡˛ÚÒfl ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÂ

¯ËÌ˚ MAIN L Ë R.

‡Á˙ÂÏ TRS (T: „Ófl˜ËÈ, R: ıÓÎÓ‰Ì˚È, S:

ÁÂÏÎfl). ÑÓÔÛÒ͇ÂÚ ÔÓ‰‡˜Û Í‡Í ·‡Î‡ÌÒÌÓ„Ó,

• ë˄̇Î, ÔÓÒÚÛÔ‡˛˘ËÈ ˜ÂÂÁ ‡Á˙ÂÏ MIC,

Ú‡Í Ë Ì·‡Î‡ÌÒÌÓ„Ó Ò˄̇ÎÓ‚.

ÔÓ‰‡ÂÚÒfl Ò Ó‰Ë̇ÍÓ‚˚ÏË ÛÓ‚ÌflÏË ‚ ¯ËÌ˚ MAIN

L Ë MAIN R.

äÓθˆÓ: ıÓÎÓ‰Ì˚È (–)

ÉËθÁ‡: ÁÂÏÎfl ç‡ÍÓ̘ÌËÍ: „Ófl˜ËÈ (+)

EMX512SC/EMX312SC/EMX212S

21

èêàåÖóÄçàÖ

èêàåÖóÄçàÖ

é„‡Ì˚ ÛÔ‡‚ÎÂÌËfl Ë ‡Á˙ÂÏ˚

ëÂ͈Ëfl ˆËÙÓ‚˚ı ˝ÙÙÂÍÚÓ‚

∂ èÓ„‡Ïχ è‡‡ÏÂÚ

9

KARAOKE ECHO áÄÑÖêÜäÄ

0

VOCAL ECHO áÄÑÖêÜäÄ

A

CHORUS 1 óÄëíéíÄ LFO

B

CHORUS 2 óÄëíéíÄ LFO

CC

CC

FLANGER óÄëíéíÄ LFO

DD

DD

PHASER óÄëíéíÄ LFO

EE

EE

AUTO WAH óÄëíéíÄ LFO

FF

FF

DISTORTION àçíÖçëàÇçéëíú

A ê͇ۘ PARAMETER

ê„ÛÎËÛÂÚ Ô‡‡ÏÂÚ˚ („ÎÛ·Ë̇, ÒÍÓÓÒÚ¸, Ë Ú.‰.),

Ò‚flÁ‡ÌÌ˚Â Ò ‚˚·‡ÌÌ˚Ï ÚËÔÓÏ ˝ÙÙÂÍÚ‡.

0

åËͯÂ ÒÓı‡ÌflÂÚ ÔÓÒΉÌ Á̇˜ÂÌËÂ,

ËÒÔÓθÁÛÂÏÓÂ Ò Í‡Ê‰˚Ï ÚËÔÓÏ ˝ÙÙÂÍÚ‡. èË

‚˚·Ó ‰Û„Ó„Ó ÚËÔ‡ ˝ÙÙÂÍÚ‡ ÏËͯÂ

A

‡‚ÚÓχÚ˘ÂÒÍË ‚ÓÒÒڇ̇‚ÎË‚‡ÂÚ Á̇˜ÂÌËÂ, ÍÓÚÓÓÂ

ËÒÔÓθÁÓ‚‡ÎÓÒ¸ Ò ‰‡ÌÌ˚Ï ÚËÔÓÏ ˝ÙÙÂÍÚ‡

(ÌÂÁ‡‚ËÒËÏÓ ÓÚ ÚÂÍÛ˘Â„Ó ÔÓÎÓÊÂÌËfl „ÛÎflÚÓ‡

PARAMETER). çÓ ÒΉÛÂÚ ÔÓÏÌËÚ¸, ˜ÚÓ ÔË

B

‚˚Íβ˜ÂÌËË ÔËÚ‡ÌËfl ‚ÓÒÒڇ̇‚ÎË‚‡˛ÚÒfl ‚ÒÂ

Á̇˜ÂÌËfl ÔÓ ÛÏÓΘ‡Ì˲.

B Ç˚Íβ˜‡ÚÂθ ON

àÒÔÓθÁÛÂÚÒfl ‰Îfl ‚Íβ˜ÂÌËfl Ë ‚˚Íβ˜ÂÌËfl ‚ÌÛÚÂÌÌ„Ó

ÔÓˆÂÒÒÓ‡ ˝ÙÙÂÍÚÓ‚. ÇÌÛÚÂÌÌËÈ ˝ÙÙÂÍÚ ÔËÏÂÌflÂÚÒfl

ÚÓθÍÓ ÔË ‚Íβ˜ÂÌÌÓÏ ÔÂÂÍβ˜‡ÚÂÎÂ. èË ‚Íβ˜ÂÌËË

C

˝ÙÙÂÍÚ-ÔÓˆÂÒÒÓ‡ Ë̉Ë͇ÚÓ „ÓËÚ Ó‡ÌÊ‚˚Ï ˆ‚ÂÚÓÏ.

ÇÏÂÒÚÓ ÔÂÂÍβ˜‡ÚÂÎfl ON ‰Îfl ‚Íβ˜ÂÌËfl ˝ÙÙÂÍÚ—

ÔÓˆÂÒÒÓ‡ ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÔËÓ·ÂÚ‡ÂÏ˚È ‰Ó-

D

ÔÓÎÌËÚÂθÌÓ Ô‰‡Î¸Ì˚È ÔÂÂÍβ˜‡ÚÂθ FC5.

ÇÌÛÚÂÌÌËÈ ˝ÙÙÂÍÚ-ÔÓˆÂÒÒÓ ‡‚ÚÓχÚ˘ÂÒÍË

‚Íβ˜‡ÂÚÒfl ÔË ‚Íβ˜ÂÌËË ÔËÚ‡ÌËfl ÏËͯÂ‡.

C ÉÌÂÁ‰Ó EFFECT OUT

緇·ÌÒÌÓ ¯ÚÂÍÂÌÓ ‚˚ıÓ‰ÌÓ „ÌÂÁ‰Ó ‰Îfl ‚˚‚Ó‰‡

Ò˄̇· ¯ËÌ˚ EFFECT. ùÚÓ „ÌÂÁ‰Ó ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸,

̇ÔËÏÂ, ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ‚̯ÌÂ„Ó ÔÓˆÂÒÒÓ‡

0 ê͇ۘ PROGRAM

˝ÙÙÂÍÚÓ‚. ë˄̇ΠÏÓÊÌÓ ‚ÓÁ‚‡ÚËÚ¸, ÔÓ‰Íβ˜Ë‚ ‚̯ÌËÈ

àÒÔÓθÁÛÂÚÒfl ‰Îfl ‚˚·Ó‡ ÚËÔ‡ ËÒÔÓθÁÛÂÏÓ„Ó ˝ÙÙÂÍÚ‡.

ÔÓˆÂÒÒÓ ˝ÙÙÂÍÚÓ‚ Í Î˛·ÓÏÛ ËÁ „ÌÂÁ‰ LINE ͇̇θÌ˚ı

åÓÊÌÓ ‚˚·‡Ú¸ ËÁ 16 ÒÎÂ‰Û˛˘Ëı ÚËÔÓ‚ ˝ÙÙÂÍÚ‡.

Ô‡ 5/6–11/12.

∂ èÓ„‡Ïχ è‡‡ÏÂÚ

èË ‚ÓÁ‚‡Ú Ò˄̇· ‚̯ÌÂ„Ó ÔÓˆÂÒÒÓ‡ ˝ÙÙÂÍÚÓ‚

1

REVERB HALL 1 ÇêÖå¸ êÖÇÖêÅÖêÄñàà

˜ÂÂÁ „ÌÂÁ‰Ó LINE ͇̇θÌ˚ı Ô‡ 5/6–11/12 ۷‰ËÚÂÒ¸ ‚

ÚÓÏ, ˜ÚÓ „ÛÎflÚÓ EFFECT ˝ÚÓÈ Ô‡˚ ÛÒÚ‡ÌÓ‚ÎÂÌ ‚

2

REVERB HALL 2 ÇêÖå¸ êÖÇÖêÅÖêÄñàà

ÔÓÎÓÊÂÌËÂ «0».

3

REVERB ROOM 1 ÇêÖå¸ êÖÇÖêÅÖêÄñàà

4

REVERB ROOM 2 ÇêÖå¸ êÖÇÖêÅÖêÄñàà

D ÉÌÂÁ‰Ó FOOT SW

ùÚÓ ¯ÚÂÍÂÌÓ ‚ıÓ‰ÌÓ „ÌÂÁ‰Ó ÒÎÛÊËÚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl

55

55

REVERB STAGE 1 ÇêÖå¸ êÖÇÖêÅÖêÄñàà

ÔËÓ·ÂÚ‡ÂÏÓ„Ó ‰ÓÔÓÎÌËÚÂθÌÓ Ô‰‡Î¸ÌÓ„Ó ÔÂÂÍβ˜‡ÚÂÎfl

66

66

REVERB STAGE 2 ÇêÖå¸ êÖÇÖêÅÖêÄñàà

YAMAHA FC5. èË ÔÓ‰Íβ˜ÂÌËË Ô‰‡Î¸ÌÓ„Ó ÔÂÂÍβ˜‡ÚÂÎfl

77

77

REVERB PLATE ÇêÖå¸ êÖÇÖêÅÖêÄñàà

Â„Ó ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ‚Íβ˜ÂÌËfl Ë ‚˚Íβ˜ÂÌËfl

88

88

DRUM AMBIENCE ÇêÖå¸ êÖÇÖêÅÖêÄñàà

‚ÒÚÓÂÌÌÓ„Ó ˝ÙÙÂÍÚ-ÔÓˆÂÒÒÓ‡.

22

EMX512SC/EMX312SC/EMX212S

èêàåÖóÄçàÖ

èêàåÖóÄçàÖ

é„‡Ì˚ ÛÔ‡‚ÎÂÌËfl Ë ‡Á˙ÂÏ˚

éÒÌӂ̇fl ÒÂ͈Ëfl MAIN

E É‡Ù˘ÂÒÍËÈ ˝Í‚‡Î‡ÈÁÂ

É‡Ù˘ÂÒÍËÈ 7-ÔÓÎÓÒÌ˚È ˝Í‚‡Î‡ÈÁÂ ÔÓÁ‚ÓÎflÂÚ

„ÛÎËÓ‚‡Ú¸ ˜‡ÒÚÓÚÌÛ˛ ı‡‡ÍÚÂËÒÚËÍÛ ÒÚÂÂÓÒ˄̇·

¯ËÌ MAIN L Ë MAIN R. ùÚÓÚ Ò˄̇Π‚˚‚Ó‰ËÚÒfl ̇ „ÌÂÁ‰‡

MAIN OUT I Ë SPEAKERS V. ìÓ‚Â̸ Ò˄̇· ‚ ͇ʉÓÈ

ÔÓÎÓÒ „ÛÎËÛÂÚÒfl ‚ ‰Ë‡Ô‡ÁÓÌ ±12 ‰Å. éÒÌÓ‚Ì˚Â

˜‡ÒÚÓÚ˚ ‰Îfl ÔÓÎÓÒ: 125, 250, 500, 1 ÍɈ, 2 ÍɈ, 4 ÍɈ Ë 8 ÍɈ.

F ê„ÛÎflÚÓ EFFECT RETURN

ê„ÛÎËÛÂÚ ÛÓ‚Â̸ Ò˄̇·, ÔÓ‰‡‚‡ÂÏÓ„Ó ÓÚ

˝ÙÙÂÍÚ-ÔÓˆÂÒÒÓ‡ ‚ ¯ËÌ˚ MAIN L Ë MAIN R.

G ê͇ۘ MASTER

ê„ÛÎËÛÂÚ ÛÓ‚Â̸ Ò˄̇·, ‚˚‚Ó‰ËÏÓ„Ó Ì‡ „ÌÂÁ‰‡

SPEAKERS V Ë MAIN OUT I.

E

H

H à̉Ë͇ÚÓ˚ LEVEL

à̉Ë͇ÚÓ˚ L Ë R ÓÚÓ·‡Ê‡˛Ú ÛÓ‚Â̸ Ò˄̇·,

‚˚‚Ó‰ËÏÓ„Ó ˜ÂÂÁ „ÌÂÁ‰Ó MAIN OUT I.

ë˄̇Î, ÔÓÒÚÛÔ‡˛˘ËÈ Ì‡ „ÌÂÁ‰Ó MAIN OUT, Ú‡ÍÊÂ

ÔÓıÓ‰ËÚ ˜ÂÂÁ ‚ÌÛÚÂÌÌËÈ ÛÒËÎËÚÂθ Ë ‚˚‚Ó‰ËÚÒfl

F

G

˜ÂÂÁ „ÌÂÁ‰‡ SPEAKERS

V. ëΉËÚ Á‡ Ë̉Ë͇ÚÓ‡ÏË

LIMITER

Q, ˜ÚÓ·˚ Ì Ô‚˚¯‡Ú¸ χÍÒËχθÌÓ„Ó

ÛÓ‚Ìfl Ò˄̇·, ‚˚‚Ó‰ËÏÓ„Ó ˜ÂÂÁ „ÌÂÁ‰‡ SPEAKERS.

I ÉÌÂÁ‰‡ MAIN OUT L Ë R

ùÚË Ì·‡Î‡ÌÒÌ˚ ¯ÚÂÍÂÌ˚ ‚˚ıÓ‰Ì˚ „ÌÂÁ‰‡

ËÒÔÓθÁÛ˛ÚÒfl ‚ ͇˜ÂÒÚ‚Â ÓÒÌÓ‚ÌÓ„Ó ‚˚ıÓ‰‡ ÒÚÂÂÓÒ˄̇·.

é·˚˜ÌÓ ˝ÚË „ÌÂÁ‰‡ ËÒÔÓθÁÛ˛ÚÒfl ‰Îfl ÔÓ‰Íβ˜ÂÌËfl Í

IJ

ÛÒËÎËÚÂβ ÏÓ˘ÌÓÒÚË ËÎË ‡ÍÚË‚ÌÓÈ ‡ÍÛÒÚ˘ÂÒÍÓÈ ÒËÒÚÂÏÂ.

ë˄̇Î, ÔÓ‰‡‚‡ÂÏ˚È Ì‡ ˝ÚË ‡Á˙ÂÏ˚, „ÛÎËÛÂÚÒfl Û˜ÍÓÈ

MASTER G ÓÒÌÓ‚ÌÓÈ ÒÂ͈ËË MAIN Ë „‡Ù˘ÂÒÍËÏ

˝Í‚‡Î‡ÈÁÂÓÏ E.

J ÉÌÂÁ‰‡ REC OUT L Ë R

ùÚË Ì·‡Î‡ÌÒÌ˚ ‚˚ıÓ‰Ì˚ „ÌÂÁ‰‡ RCA ÏÓÊÌÓ

ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ÔÓ‰‡˜Ë ÓÒÌÓ‚ÌÓ„Ó ÒÚÂÂÓÒ˄̇· ̇

‚̯Ì Á‡ÔËÒ˚‚‡˛˘Â ÛÒÚÓÈÒÚ‚Ó (DAT ËÎË Í‡ÒÒÂÚÌ˚È

χ„ÌËÚÓÙÓÌ). é·‡ÚËÚ ‚ÌËχÌË ̇ ÚÓ, ˜ÚÓ, ‚ ÓÚ΢ˠÓÚ

‚˚ıÓ‰‡ ˜ÂÂÁ „ÌÂÁ‰‡ MAIN OUT, Ò˄̇Π„ÌÂÁ‰ REC OUT ÌÂ

„ÛÎËÛÂÚÒfl Û˜ÍÓÈ MASTER G ÓÒÌÓ‚ÌÓÈ ÒÂ͈ËË MAIN Ë

„‡Ù˘ÂÒÍËÏ ˝Í‚‡Î‡ÈÁÂÓÏ E.

í‡Í Í‡Í ˝ÚÓÚ ‚˚ıÓ‰ÌÓÈ Ò˄̇ΠÌ „ÛÎËÛÂÚÒfl

Û˜ÍÓÈ MASTER

G ÓÒÌÓ‚ÌÓÈ ÒÂ͈ËË MAIN,

„ÛÎËÛÈÚ ÛÓ‚Â̸ Ò˄̇· ̇ ‚̯ÌÂÏ

ÛÒÚÓÈÒÚ‚Â Á‡ÔËÒË.

EMX512SC/EMX312SC/EMX212S

23

èêàåÖóÄçàÖ

é„‡Ì˚ ÛÔ‡‚ÎÂÌËfl Ë ‡Á˙ÂÏ˚

ëÂ͈Ëfl MONITOR

K É‡Ù˘ÂÒÍËÈ ˝Í‚‡Î‡ÈÁÂ

É‡Ù˘ÂÒÍËÈ 7-ÔÓÎÓÒÌ˚È ˝Í‚‡Î‡ÈÁÂ ÔÓÁ‚ÓÎflÂÚ

„ÛÎËÓ‚‡Ú¸ ˜‡ÒÚÓÚÌÛ˛ ı‡‡ÍÚÂËÒÚËÍÛ ÏÓÌËÚÓÌÓ„Ó

Ò˄̇·, ÔÓ‰‡‚‡ÂÏÓ„Ó Ì‡ „ÌÂÁ‰Ó MONITOR OUT O Ë (ÂÒÎË

K

ÔÂÂÍβ˜‡ÚÂθ POWER AMP ÔÂ‚‰ÂÌ ‚ ÌËÊÌÂÂ

N

ÔÓÎÓÊÂÌËÂ) „ÌÂÁ‰‡ SPEAKERS B V. ìÓ‚Â̸ Ò˄̇· ‚

͇ʉÓÈ ÔÓÎÓÒ „ÛÎËÛÂÚÒfl ‚ ‰Ë‡Ô‡ÁÓÌ ±12 ‰Å.

éÒÌÓ‚Ì˚ ˜‡ÒÚÓÚ˚ ‰Îfl ÔÓÎÓÒ: 125, 250, 500, 1 ÍɈ, 2 ÍɈ, 4

ÍɈ Ë 8 ÍɈ.

L

M

L ê„ÛÎflÚÓ EFFECT RETURN

ê„ÛÎËÛÂÚ ÛÓ‚Â̸ Ò˄̇·, ÔÓ‰‡‚‡ÂÏÓ„Ó ÓÚ

˝ÙÙÂÍÚ-ÔÓˆÂÒÒÓ‡ ‚ ¯ËÌÛ MONITOR.

M ê͇ۘ MASTER

ê„ÛÎËÛÂÚ ÛÓ‚Â̸ ÏÓÌËÚÓÌÓ„Ó Ò˄̇·, ÔÓ‰‡‚‡ÂÏÓ„Ó Ì‡

„ÌÂÁ‰Ó MONITOR OUT O Ë (ÂÒÎË ÔÂÂÍβ˜‡ÚÂθ POWER

AMP ÔÂ‚‰ÂÌ ‚ ÌËÊÌ ÔÓÎÓÊÂÌËÂ) „ÌÂÁ‰‡ SPEAKERS

B V.

N à̉Ë͇ÚÓ˚ LEVEL

à̉Ë͇ÚÓ˚ L Ë R ÓÚÓ·‡Ê‡˛Ú ÛÓ‚Â̸ Ò˄̇·,

‚˚‚Ó‰ËÏÓ„Ó ˜ÂÂÁ „ÌÂÁ‰Ó MONITOR OUT O.

ÖÒÎË ÔÂÂÍβ˜‡ÚÂθ POWER AMP ÔÂ‚‰ÂÌ ‚ ÌËÊÌÂÂ

ÔÓÎÓÊÂÌËÂ, Ò˄̇Π„ÌÂÁ‰‡ MONITOR OUT Ú‡ÍÊÂ

ÔÓıÓ‰ËÚ ˜ÂÂÁ ‚ÒÚÓÂÌÌ˚È ÛÒËÎËÚÂθ Ë ‚˚‚Ó‰ËÚÒfl ̇

„ÌÂÁ‰‡ SPEAKERS B1 Ë B2

V. ëΉËÚ Á‡

Ë̉Ë͇ÚÓ‡ÏË LIMITER

Q, ˜ÚÓ·˚ Ì Ô‚˚¯‡Ú¸

χÍÒËχθÌÓ„Ó ÛÓ‚Ìfl Ò˄̇·, ‚˚‚Ó‰ËÏÓ„Ó ˜ÂÂÁ

„ÌÂÁ‰‡ SPEAKERS.

O ÉÌÂÁ‰Ó MONITOR OUT

緇·ÌÒÌÓ ¯ÚÂÍÂÌÓ „ÌÂÁ‰Ó ‰Îfl ‚˚‚Ó‰‡

O

ÏÓÌÓÙÓÌ˘ÂÒÍÓ„Ó ÏÓÌËÚÓÌÓ„Ó Ò˄̇·. é·˚˜ÌÓ ˝ÚÓ

„ÌÂÁ‰Ó ËÒÔÓθÁÛÂÚÒfl ‰Îfl ÔÓ‰Íβ˜ÂÌËfl Í ‡ÍÚË‚ÌÓÈ

‡ÍÛÒÚ˘ÂÒÍÓÈ ÒËÒÚÂÏ ‰Îfl ÍÓÌÚÓÎfl. ë˄̇Î, ÔÓ‰‡‚‡ÂÏ˚È

̇ ˝ÚÓÚ ‡Á˙ÂÏ, „ÛÎËÛÂÚÒfl Û˜ÍÓÈ MASTER M ÒÂ͈ËË

MONITOR Ë „‡Ù˘ÂÒÍËÏ ˝Í‚‡Î‡ÈÁÂÓÏ K ÒÂ͈ËË

MONITOR.

24

EMX512SC/EMX312SC/EMX212S

é„‡Ì˚ ÛÔ‡‚ÎÂÌËfl Ë ‡Á˙ÂÏ˚

ëÂ͈Ëfl ÔËÚ‡ÌËfl POWER

• ÇÓ ËÁ·ÂʇÌË ÔÓ‚ÂʉÂÌËfl ‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ

Ó·flÁ‡ÚÂθÌÓ ‚˚Íβ˜ËÚ ÔËÚ‡ÌË EMX, ‰Û„Ëı

ÛÒËÎËÚÂÎÂÈ ÏÓ˘ÌÓÒÚË Ë ‡ÍÚË‚Ì˚ı ‡ÍÛÒÚ˘ÂÒÍËı

ÒËÒÚÂÏ ÔÂ‰ ‚Íβ˜ÂÌËÂÏ ËÎË ‚˚Íβ˜ÂÌËÂÏ

P

Ù‡ÌÚÓÏÌÓ„Ó ÔËÚ‡ÌËfl. êÂÍÓÏẨÛÂÚÒfl Ú‡ÍÊ ÛÒÚ‡-

ÌÓ‚ËÚ¸ ̇ ÏËÌËÏÛÏ ‚Ò ‚˚ıÓ‰Ì˚ ÍÓÌÚÓÎÎÂ˚

(„ÛÎflÚÓ˚ LEVEL, Û˜ÍË MASTER Ë Ú.‰.) ÔÂ‰

ÔÂÂÍβ˜ÂÌËÂÏ ‚˚Íβ˜‡ÚÂÎfl ‚Ó ËÁ·ÂʇÌË ËÒ͇

ÒÓÁ‰‡ÌËfl „ÓÏÍËı ¯ÛÏÓ‚, ÍÓÚÓ˚ ÏÓ„ÛÚ ÔË‚ÂÒÚË Í

ÒÌËÊÂÌ˲ ÒÎÛı‡ ËÎË ÔÓ‚ÂʉÂÌ˲ ÛÒÚÓÈÒÚ‚‡.

Q

Q à̉Ë͇ÚÓ˚ LIMITER

à̉Ë͇ÚÓ Á‡„Ó‡ÂÚÒfl, ÍÓ„‰‡ ÛÓ‚Â̸ ‚˚ıÓ‰ÌÓ„Ó Ò˄̇·

R

ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó „ÌÂÁ‰‡ SPEAKERS ‰ÓÒÚË„‡ÂÚ Ï‡ÍÒËχ-

θÌÓ„Ó Á̇˜ÂÌËfl. à̉Ë͇ÚÓ Á‡„Ó‡ÂÚÒfl ÔË ‚Íβ˜ÂÌËË

Ó„‡Ì˘ËÚÂÎfl.

ó‡ÒÚÓ ÏË„‡ÌË Ë̉Ë͇ÚÓ‡ Û͇Á˚‚‡ÂÚ Ì‡ ÔÂ„ÛÁÍÛ

ÛÒËÎËÚÂÎfl Ë ËÒÍ ÔÓ‚ÂʉÂÌËfl Ó·ÓÛ‰Ó‚‡ÌËfl.

éÚ„ÛÎËÛÈÚ ÔÓÎÓÊÂÌË Û˜ÂÍ MASTER (

G Ë M) Ú‡Í,

S

˜ÚÓ·˚ Ë̉Ë͇ÚÓ˚ Ì „ÓÂÎË ËÎË ÏË„‡ÎË ‰ÍÓ.

R èÂÂÍβ˜‡ÚÂθ POWER AMP

àÒÔÓθÁÛÂÚÒfl ‰Îfl ‚˚·Ó‡ Ò˄̇·, ÔÓ‰‡‚‡ÂÏÓ„Ó Ì‡ „ÌÂÁ‰‡

SPEAKERS, ÒÎÂ‰Û˛˘ËÏ Ó·‡ÁÓÏ.

ÇÂıÌÂÂ ÔÓÎÓÊÂÌËÂ (MAIN L/R):

T

ÉÌÂÁ‰‡ SPEAKERS A1 Ë A2 ‚˚‚Ó‰flÚ Ò˄̇Π¯ËÌ˚ MAIN

L, „ÌÂÁ‰‡ SPEAKERS B1 Ë B2 — ¯ËÌ˚ MAIN R. ê͇ۘ

MASTER G ÓÒÌÓ‚ÌÓÈ ÒÂ͈ËË MAIN „ÛÎËÛÂÚ

‚˚ıÓ‰ÌÓÈ ÛÓ‚Â̸ ‚ÒÂı „ÌÂÁ‰ SPEAKERS.

çËÊÌ ÔÓÎÓÊÂÌË (MAIN (L+R)/MON):

óÂÂÁ „ÌÂÁ‰‡ SPEAKERS A1 Ë A2 ‚˚‚Ó‰ËÚÒfl

Òϯ‡ÌÌ˚È Ò˄̇Π¯ËÌ MAIN L Ë MAIN R. óÂÂÁ

„ÌÂÁ‰‡ SPEAKERS B1 Ë B2 ‚˚‚Ó‰ËÚÒfl Ò˄̇Π¯ËÌ˚

U

MONITOR. ê͇ۘ MASTER G ÓÒÌÓ‚ÌÓÈ ÒÂ͈ËË MAIN

„ÛÎËÛÂÚ ÛÓ‚Â̸ „ÌÂÁ‰ A, ͇ۘ MASTER M

ÒÂ͈ËË MONITOR — „ÌÂÁ‰ B.

S èÂÂÍβ˜‡ÚÂθ YS Processing

àÒÔÓθÁÛÂÚÒfl ‰Îfl ‚Íβ˜ÂÌËfl Ë ‚˚Íβ˜ÂÌËfl ÔÓˆÂÒÒÓ‡

Yamaha Speaker Processing. ùÚÓÚ ÔÓˆÂÒÒÓ ÍÓÂÍÚËÛÂÚ

‰Ë‡Ô‡ÁÓÌ ÌËÊÌËı ˜‡ÒÚÓÚ ‰Ë̇ÏËÍÓ‚, ÍÓÏÔÂÌÒËÛfl,

̇ÔËÏÂ, ÓÚÒÛÚÒÚ‚Ë ҇·‚ÛÙÂÓ‚. é·‡ÚËÚ ‚ÌËχÌË ̇

P èÂÂÍβ˜‡ÚÂθ PHANTOM

ÚÓ, ˜ÚÓ ˜‡ÒÚÓÚÌ˚È ·‡Î‡ÌÒ ·Û‰ÂÚ ËÁÏÂÌflÚ¸Òfl ‚ Á‡‚ËÒËÏÓÒÚË

ùÚÓÚ ‚˚Íβ˜‡ÚÂθ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ Ù‡ÌÚÓÏÌÓÂ

ÓÚ ËÒÔÓθÁÛÂÏ˚ı ‰Ë̇ÏËÍÓ‚.

ÔËÚ‡ÌË +15 Ç. èË ‚Íβ˜ÂÌËË Ù‡ÌÚÓÏÌÓ„Ó ÔËÚ‡ÌËfl

ÏËͯÂ ÔÓ‰‡ÂÚ ÔËÚ‡ÌË ̇ ÏËÍÓÙÓÌÌ˚ ‚ıÓ‰Ì˚ „ÌÂÁ‰‡

T èÂÂÍβ˜‡ÚÂθ STAND-BY

XLR ‚ÒÂı ͇̇ÎÓ‚ („ÌÂÁ‰‡ INPUT B ͇̇ÎÓ‚ 1–4 Ë „ÌÂÁ‰‡

ùÚÓÚ ÔÂÂÍβ˜‡ÚÂθ ÔË„ÎÛ¯‡ÂÚ ‚ıÓ‰ ͇̇ÎÓ‚ 1–8.

MIC ̇ Ô‡‡ı ͇̇ÎÓ‚ 5/6–11/12). àÒÔÓθÁÛÈÚ هÌÚÓÏÌÓÂ

à̉Ë͇ÚÓ ÔÂÂÍβ˜‡ÚÂÎfl „ÓËÚ ÔË ‚Íβ˜ÂÌÌÓÏ

ÔËÚ‡ÌË ÔË ËÒÔÓθÁÓ‚‡ÌËË Ó‰ÌÓ„Ó ËÎË ÌÂÒÍÓθÍËı

ÔË„ÎÛ¯ÂÌËË. é·‡ÚËÚ ‚ÌËχÌË ̇ ÚÓ, ˜ÚÓ ÔË„ÎÛ¯ÂÌËÂ

ÍÓ̉ÂÌÒ‡ÚÓÌ˚ı ÏËÍÓÙÓÌÓ‚.

Ì Ó͇Á˚‚‡ÂÚ ‚ÎËflÌËfl ̇ ͇̇Î˚ 9–12.

èêàåÖóÄçàÖ

äÓ„‰‡ Ù‡ÌÚÓÏÌÓ ÔËÚ‡ÌË ‚Íβ˜ÂÌÓ, ÏËͯÂ

èË ËÒÔÓθÁÓ‚‡ÌËË ÏËͯÂ‡ ‰Îfl ÊË‚˚ı ÍÓ̈ÂÚÓ‚

ÔÓ‰‡ÂÚ ÔËÚ‡ÌË +15 Ç ÔÓÒÚÓflÌÌÓ„Ó ÚÓ͇ ̇

ÏÓÊÌÓ Á‡ÔÓÎÌflÚ¸ ÔÓÏÂÊÛÚÍË ÏÂÊ‰Û ‚˚ÒÚÛ-

ÍÓÌÚ‡ÍÚ˚ 2 Ë 3 ‚ÒÂı ‚ıÓ‰Ì˚ı „ÌÂÁ‰ XLR.

ÔÎÂÌËflÏË, ‡ÍÚË‚ËÛfl ÔÂÂÍβ˜‡ÚÂθ ÔË„ÎÛ¯ÂÌËfl

Ë ÔÓ‰‡‚‡fl ÙÓÌÓ‚Û˛ ÏÛÁ˚ÍÛ Ò ÔÓË„˚‚‡ÚÂÎfl

ÍÓÏÔ‡ÍÚ—‰ËÒÍÓ‚ ËÎË ‰Û„Ó„Ó ÔÓ‰Ó·ÌÓ„Ó ÛÒÚÓÈÒÚ‚‡,

• ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ Ù‡ÌÚÓÏÌÓ ÔËÚ‡ÌË ‚˚Íβ˜ÂÌÓ,

ÔÓ‰Íβ˜ÂÌÌÓ„Ó Í Í‡Ì‡Î‡Ï 9–12.

ÂÒÎË ‚ ÌÂÏ ÌÂÚ ÌÂÓ·ıÓ‰ËÏÓÒÚË.

• èË ËÒÔÓθÁÓ‚‡ÌËË Ù‡ÌÚÓÏÌÓ„Ó ÔËÚ‡ÌËfl ÌÂ

U èÂÂÍβ˜‡ÚÂθ Ë Ë̉Ë͇ÚÓ POWER

ÔÓ‰ÒÓ‰ËÌflÈÚÂ Í ‚ıÓ‰Ì˚Ï „ÌÂÁ‰‡Ï XLR ÌË͇ÍËÂ

àÒÔÓθÁÛÂÚÒfl ‰Îfl ‚Íβ˜ÂÌËfl (ON) Ë ‚˚Íβ˜ÂÌËfl (OFF)

‰Û„Ë ÛÒÚÓÈÒÚ‚‡, ÍÓÏ ÍÓ̉ÂÌÒ‡ÚÓÌ˚ı ÏËÍÓ-

ÔËÚ‡ÌËfl EMX. ᇄÓ‚¯ËÈÒfl Ë̉Ë͇ÚÓ Û͇Á˚‚‡ÂÚ Ì‡

ÙÓÌÓ‚. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÓ‚ÂʉÂÌ˲ ˝ÚËı

ÛÒÚÓÈÒÚ‚. ùÚ‡ ÏÂ‡ Ô‰ÓÒÚÓÓÊÌÓÒÚË Ì ÓÚÌÓÒËÚÒfl

‚Íβ˜ÂÌË ÛÒÚÓÈÒÚ‚‡.

Í Ò·‡Î‡ÌÒËÓ‚‡ÌÌ˚Ï ˝ÎÂÍÚÓ‰Ë̇Ï˘ÂÒÍËÏ ÏËÍÓ-

èÂ‰ ‚Íβ˜ÂÌËÂÏ ËÎË ‚˚Íβ˜ÂÌËÂÏ ÔËÚ‡ÌËfl

ÙÓ̇Ï, Ú‡Í Í‡Í Ù‡ÌÚÓÏÌÓ ÔËÚ‡ÌË ̇ Ú‡ÍË ÏËÍÓ-

۷‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ Ó·Â Û˜ÍË MASTER (

G Ë M)

ÙÓÌ˚ Ì ‚ÎËflÂÚ.

ÔÂ‚‰ÂÌ˚ ‚ ÔÓÎÓÊÂÌË «0».

EMX512SC/EMX312SC/EMX212S

25

èêàåÖóÄçàÖ

é„‡Ì˚ ÛÔ‡‚ÎÂÌËfl Ë ‡Á˙ÂÏ˚

ᇉÌflfl Ô‡ÌÂθ

VW

X

V ÉÌÂÁ‰‡ SPEAKERS

W ê‡Á˙ÂÏ AC IN

àÒÔÓθÁÛ˛ÚÒfl ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ.

àÒÔÓθÁÛÂÚÒfl ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ÔË·„‡ÂÏÓ„Ó ¯ÌÛ‡

é·‡ÚËÚ ‚ÌËχÌËÂ, ˜ÚÓ ‚˚‚Ó‰ËÏ˚È Ì‡ ˝ÚË „ÌÂÁ‰‡ Ò˄̇Î

ÔËÚ‡ÌËfl. èÓ‰Íβ˜ËÚ ӉËÌ ÍÓ̈ ¯ÌÛ‡ Í ˝ÚÓÏÛ ‡Á˙ÂÏÛ,

ËÁÏÂÌflÂÚÒfl Òӄ·ÒÌÓ ÔÓÎÓÊÂÌ˲ ÔÂÂÍβ˜‡ÚÂÎfl POWER

‡ ‰Û„ÓÈ ÍÓ̈ — Í ÒÂÚ‚ÓÈ ÓÁÂÚÍÂ.

AMP R.

àÒÔÓθÁÛÈÚ ¯ÌÛ, ÔÓÒÚ‡‚ÎflÂÏ˚È Ò ÏËͯÂÓÏ.

àÒÔÓθÁÓ‚‡ÌË ‰Û„Ó„Ó ¯ÌÛ‡ ÏÓÊÂÚ ÔË‚ÂÒÚË Í

A1, B1: ‚˚ıÓ‰˚ Neutrik NL4 Speakon. èÓÎflÌÓÒÚ¸

‚ÓÁÌËÍÌÓ‚ÂÌ˲ ÔÓʇ‡, ÓÊÓ„Ó‚, ‡ Ú‡ÍÊ Í

‚˚‚Ó‰Ó‚ ÔÓ͇Á‡Ì‡ ÌËÊÂ.

ÔÓ‚ÂʉÂÌ˲ Ó·ÓÛ‰Ó‚‡ÌËfl.

X ÇËÌÚ Á‡ÁÂÏÎÂÌËfl

1- 1+

äÓÌÚ‡ÍÚ Neutrik ê‡Á˙ÂÏ˚ A1 Ë B1

燉ÂÊÌÓ ÔÓ‰Íβ˜ËÚ EMX Í ¯ËÌ Á‡ÁÂÏÎÂÌËfl ‰Îfl

1+

+

Ó·ÂÒÔ˜ÂÌËfl χÍÒËχθÌÓÈ ·ÂÁÓÔ‡ÒÌÓÒÚË. èË·„‡ÂÏ˚È

1–

–

¯ÌÛ ÔËÚ‡ÌËfl ÓÒ̇˘ÂÌ ¯ÚÂÔÒÂÎÂÏ Ò ÚÂÏfl ÍÓÌÚ‡ÍÚ‡ÏË,

2+

Á‡ÁÂÏÎfl˛˘ËÏË ÔË·Ó, ÍÓ„‰‡ ¯ÚÂÔÒÂθ ‚ÒÚ‡‚ÎÂÌ ‚

2+ 2-

Ô‡‚ËθÌÓ Á‡ÁÂÏÎÂÌÌÛ˛ ÓÁÂÚÍÛ ÔËÚ‡ÌËfl Ò ÚÂÏfl

2–

ÍÓÌÚ‡ÍÚ‡ÏË. ÖÒÎË ÒÂÚ‚‡fl ÓÁÂÚ͇ Ì Á‡ÁÂÏÎÂ̇,

Á‡ÁÂÏÎËÚ ÔË·Ó, ËÒÔÓθÁÛfl ˝ÚÓÚ ‚ËÌÚ Á‡ÁÂÏÎÂÌËfl.

è‡‚ËθÌÓ Á‡ÁÂÏÎÂÌË ˝ÙÙÂÍÚË‚ÌÓ ÛÒÚ‡ÌflÂÚ ÙÓÌÓ‚˚È

A2, B2: òÚÂÍÂÌ˚ ‚˚ıÓ‰Ì˚ „ÌÂÁ‰‡.

¯ÛÏ Ë ÔÓÏÂıË.

26

EMX512SC/EMX312SC/EMX212S

èÓ‰Íβ˜ÂÌË ‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ

èÓ‰Íβ˜ÂÌË ‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ

èË ‰‚Ûı͇̇θÌÓÏ ËÎË ‰‚Ûı͇̇θÌÓÏ Ô‡‡ÎÎÂθÌÓÏ ÔÓ‰Íβ˜ÂÌËË Í „ÌÂÁ‰‡Ï SPEAKERS ۷‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ÒÓÔÓÚË‚ÎÂÌËÂ

‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ Ô˂‰ÂÌÌ˚Ï ÌËÊ Ú·ӂ‡ÌËflÏ. é·‡ÚËÚ ‚ÌËχÌË ̇ ÚÓ, ˜ÚÓ Ù‡ÍÚ˘ÂÒÍÓ ÒÓÔÓÚË‚ÎÂÌËÂ

ËÁÏÂÌflÂÚÒfl ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ ÒıÂÏ˚ ÔÓ‰Íβ˜ÂÌËfl Ë ÍÓ΢ÂÒÚ‚‡ ‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ.

ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ËÒÔÓθÁÛÂÏ˚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ͇·ÂÎË ËÏÂ˛Ú Ú·ÛÂÏÓ Ò˜ÂÌËÂ Ë ÌÂÓ·ıÓ‰ËÏ˚ ‡Á˙ÂÏ˚. ÑÎfl ÔÓ‰Íβ˜ÂÌËfl

‡ÍÛÒÚ˘ÂÒÍËı ÒËÒÚÂÏ Í „ÌÂÁ‰‡Ï SPEAKERS ËÒÔÓθÁÛÈÚ ÒÔˆˇθÌ˚ ͇·ÂÎË.

■ Ñ‚Ûı͇̇θÌÓ ÔÓ‰Íβ˜ÂÌËÂ

■ Ñ‚Ûı͇̇θÌÓ ԇ‡ÎÎÂθÌÓ ÔÓ‰Íβ˜ÂÌËÂ

èË ËÒÔÓθÁÓ‚‡ÌËË ‰‡ÌÌÓÈ ÒıÂÏ˚ ÔÓ‰Íβ˜‡ÈÚ ‡ÍÛÒÚ˘ÂÒÍËÂ

èË ËÒÔÓθÁÓ‚‡ÌËË ‰‡ÌÌÓÈ ÒıÂÏ˚ ÔÓ‰Íβ˜‡ÈÚ ‡ÍÛÒÚ˘ÂÒÍËÂ

ÒËÒÚÂÏ˚ Ò ÒÓÔÓÚË‚ÎÂÌËÂÏ ÓÚ 4 ‰Ó 8 éÏ.

ÒËÒÚÂÏ˚ Ò ÒÓÔÓÚË‚ÎÂÌËÂÏ ÓÚ 8 ‰Ó 16 éÏ.

4Ω–8Ω 4Ω–8Ω

EMX512SC/EMX312SC/EMX212S

27

8Ω–16Ω 8Ω–16Ω 8Ω–16Ω 8Ω–16Ω

ÉÓËÁÓÌڇθ̇fl ÓËÂÌÚ‡ˆËfl, ̇ÍÎÓÌ Ë ÛÒÚ‡Ìӂ͇ ‚ ÒÚÓÈÍÛ

ÉÓËÁÓÌڇθ̇fl ÓËÂÌÚ‡ˆËfl, ̇ÍÎÓÌ Ë ÛÒÚ‡Ìӂ͇ ‚

ÒÚÓÈÍÛ

ÉÓËÁÓÌڇθ̇fl ÓËÂÌÚ‡ˆËfl

èË „ÓËÁÓÌڇθÌÓÏ ‡ÒÔÓÎÓÊÂÌËË EMX Ó·flÁ‡ÚÂθÌÓ ÔËÍÂÔËÚ ÔË·„‡ÂÏ˚ ÂÁËÌÓ‚˚ ÒÚ‡·ËÎËÁ‡ÚÓ˚. ëÚ‡·ËÎËÁ‡ÚÓ˚ ÔÂÔflÚÒÚ‚Û˛Ú

ÓÔÓÍˉ˚‚‡Ì˲ ÛÒÚÓÈÒÚ‚‡.

èêàåÖóÄçàÖ

éÚÒÓ‰ËÌflÈÚ ÒÚ‡·ËÎËÁ‡ÚÓ˚ ÔÂ‰ Ú‡ÌÒÔÓÚËÓ‚ÍÓÈ ÛÒÚÓÈÒÚ‚‡.

■ äÂÔÎÂÌË ÂÁËÌÓ‚˚ı ÒÚ‡·ËÎËÁ‡ÚÓÓ‚

èÂ‚ÂÌËÚ EMX ‚ÂıÌÂÈ Í˚¯ÍÓÈ ‚ÌËÁ.

èÓ‰ÌËÏËÚ Ô‡‚Û˛ ÒÚÓÓÌÛ EMX ‚‚Âı.

1

3

á‡ÍÂÔËÚ ‰‚‡ ÔË·„‡ÂÏ˚ı ÂÁËÌÓ‚˚ı ÒÚ‡·ËÎËÁ‡ÚÓ‡.

2

ç‡ÊÏËÚ ̇ ͇ʉ˚È ÒÚ‡·ËÎËÁ‡ÚÓ, ˜ÚÓ·˚ ÓÌË Ì‡‰ÂÊÌÓ

Á‡ÙËÍÒËÓ‚‡ÎËÒ¸ ̇ ÏÂÒÚÂ.

ÒÚ‡·ËÎËÁ‡ÚÓ

28

EMX512SC/EMX312SC/EMX212S

ÉÓËÁÓÌڇθ̇fl ÓËÂÌÚ‡ˆËfl, ̇ÍÎÓÌ Ë ÛÒÚ‡Ìӂ͇ ‚ ÒÚÓÈÍÛ

ç‡ÍÎÓÌ

EMX ÏÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÔÓ‰ Û„ÎÓÏ, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡

ç ÔË·„‡ÈÚ ËÁÎ˯ÌËı ÛÒËÎËÈ ÔË Ì‡ÍÎÓÌÂ

ÒÎÂ‰Û˛˘ÂÏ ËÒÛÌÍÂ.

ÛÒÚÓÈÒÚ‚‡. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í Ô‡‰ÂÌ˲ ËÎË

ÔÂ‚ÓÓÚÛ ÛÒÚÓÈÒÚ‚‡, ÔÓ‚ÂʉÂÌ˲ Ó·ÓÛ‰Ó‚‡ÌËfl

ËÎË Ì‡ÌÂÒÂÌ˲ Ú‡‚Ï ÓÍÛʇ˛˘ËÏ.

ìÒÚ‡Ìӂ͇ ‚ ÒÚÓÈÍÛ

óÚÓ·˚ ÔÓ‰„ÓÚÓ‚ËÚ¸ ÛÒÚÓÈÒÚ‚Ó ‰Îfl ÛÒÚ‡ÌÓ‚ÍË ‚ ÒÚÓÈÍÛ, ËÒÔÓθÁÛÈÚ ÔËÓ·ÂÚ‡ÂÏ˚È ‰ÓÔÓÎÌËÚÂθÌÓ ÍÓÏÔÎÂÍÚ RK512 ‰Îfl

ÛÒÚ‡ÌÓ‚ÍË ‚ ÒÚÓÈÍÛ.

ì·Â‰ËÚÂÒ¸ ‚ ̇΢ËË ‰ÓÒÚ‡ÚÓ˜ÌÓÈ ‚ÂÌÚËÎflˆËË ‚ ÒÚÓÈÍ ‰Îfl Ô‰ÓÚ‚‡˘ÂÌËfl ÔÂ„‚‡ ÔË·Ó‡. ÑÎfl ÛÎÛ˜¯ÂÌËfl ‚ÂÌÚËÎflˆËË ÏÓÊÌÓ

ÛÒÚ‡ÌÓ‚ËÚ¸ ‚ÂÌÚËÎflˆËÓÌÌÛ˛ Ô‡ÌÂθ. ç ËÒÔÓθÁÛÈÚ Á‡Í˚ÚÛ˛ ÒÚÓÈÍÛ.

èêàåÖóÄçàÖ

ÑÎfl ÛÒÚ‡ÌÓ‚ÍË EMX ‚ ÒÚÓÈÍÛ Ú·ÛÂÚÒfl Ò‚Ó·Ó‰ÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó 7U.

á‡ÍÂÔËÚ 2 ÏÂÚ‡Î΢ÂÒÍËı ÙËÚËÌ„‡ 4 ‚ıÓ‰fl˘ËÏË ‚

äÓÏÔÎÂÍÚ RK512 ‰Îfl ÛÒÚ‡ÌÓ‚ÍË ‚ ÒÚÓÈÍÛ

2

ÍÓÏÔÎÂÍÚ ‚ËÌÚ‡ÏË, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ.

ÇËÌÚ˚

îËÚËÌ„Ë

èÓ‰ÌËÏËÚ Ô‡‚Û˛ ÒÚÓÓÌÛ EMX ‚‚Âı.

■ ìÒÚ‡Ìӂ͇ ÍÂÔÎÂÌËÈ

3

èÂ‚ÂÌËÚ EMX ‚ÂıÌÂÈ Í˚¯ÍÓÈ ‚ÌËÁ.

1

EMX512SC/EMX312SC/EMX212S

29

èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ

èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ

ÇÂıÌflfl Ô‡ÌÂθ

Ç ·Óθ¯ËÌÒÚ‚Â ÒÎÛ˜‡Â‚ ‰ÓÒÚ‡ÚÓ˜ÌÓ ÔÓ‰Íβ˜ËÚ¸

‡ÍÛÒÚ˘ÂÒÍË ÒËÒÚÂÏ˚ Í „ÌÂÁ‰‡Ï SPEAKERS ̇

Á‡‰ÌÂÈ Ô‡ÌÂÎË ÏÓ‰ÛÎfl. ÑÎfl Û‚Â΢ÂÌËfl

ÏÓ˘ÌÓÒÚË Á‚ÛÍÓ‚ÓÈ ÒËÒÚÂÏ˚ ÏÓÊÌÓ ÔÓ‰Íβ˜ËÚ¸

ÛÒËÎËÚÂθ ÏÓ˘ÌÓÒÚË Í „ÌÂÁ‰‡Ï MAIN OUT ËÎË

MONITOR OUT, ‡ Á‡ÚÂÏ ÔÓ‰Íβ˜ËÚ¸ ‡ÍÛÒÚË-

˜ÂÒÍË ÒËÒÚÂÏ˚ Í ÛÒËÎËÚÂβ ÏÓ˘ÌÓÒÚË.

ÉËÚ‡‡

èÓË„˚‚‡ÚÂθ ÍÓÏÔ‡ÍÚ—‰ËÒÍÓ‚,

ÄÍÛÒÚ˘ÂÒ͇fl ÒËÒÚÂχ

͇ÒÒÂÚÌ˚È ÔÓË„˚‚‡ÚÂθ ËÎË

ëËÌÚÂÁ‡ÚÓ

Á‡ÔËÒ˚‚‡˛˘Â ÛÒÚÓÈÒÚ‚Ó DAT

CONTROL

KNOB

ASSIGN A

FUNCTION

PAN/SEND

PAN

ÊARP FX

TONE

ASSIGN

CUTOFF

SWING

GATE TIME

RESONANCE

ASSIGN B

REVERB

ASSIGN 1

CHORUS

VELOCITY

ATTACK

UNITMULTIPLY

TEMPO

RELEASE

ASSIGN 2

ON/OFF ON/OFF

REMOTE ARPEGGIO

G-MIDI

R-AUDIO

Integrated Sampling Sequencer /

Modular Synthesis Plug-in System / Real-time External Control Surface

EQ

VOLUME

LOW

KN

1

1

VOLUME

KN

LOW MID

2

2

VOLUME

HIGH MID

KN

3

3

VOLUME

HIGH

KN

4

4

INSERTION SYSTEM

BYPASS

EFFECT

MASTER

EFFECT

PRE 1 PRE 2 PRE 3 PRE 4

SEQUENCER

MODE

SONG

VOICE

PATTERN FILE

PERFORM MASTER

DRUM KITS

MUSIC PRODUCTION SYNTHESIZER

FAVORITES

A. PIANO KEYBOARD ORGAN

PRE 5 PRE 6

USER 1

PLUCKED

USER 2

GUITAR/

GM

SLOT

1

PLG 1

2

SLOT

PLG 2

PLG 3

SLOT

3

SEARCH

CATEGORY

BANK

LOCATE 1 2

SEQ TRANSPORT

INTEGRATED

SAMPLING

MIXING UTILITY

DEMO

SCENE

SF1 SF

2

SF

3

4

SF

SF

5

INFORMATION

DEC/NO INC/YES

COMMON

SYN LEAD

ABCDEFG

SYN PAD/

CHOIR

ELEMENT/PERF. PART/ZONE

SYN COMP

PERCUSSION

CHROMATIC

BASS

PERCUSSION

DRUM/

SE MUSICAL FX C OMBI

STRINGS

BRASS

REED/PIPE

H

SECTION

GROUP

DOWN UP

OCTAVE

COMPARE SCENE STORE

EDIT

JOB STORE

SET LOCATE

1

F

2

F

3

F

F

4

5

F

6

F

EXIT ENTER

87654321

EXECUTE

9

10

11

1412 13

15

16

MUTE

TRACK

SELECT

MASTER

VOLUME

CS 1

CS 2

CS 3

CS 4

SOLO

NUMBER

ZONE 1

ZONE 2

ZONE 3

ZONE 4

èÓË„˚‚‡ÚÂθ

ÍÓÏÔ‡ÍÚ—‰ËÒÍÓ‚

DI

ŇÒ

ìÒËÎËÚÂθ

艇θÌ˚È ÔÂÂÍβ˜‡ÚÂθ

(YAMAHA FC5)

åËÍÓÙÓÌ˚

åËÍÓÙÓÌ˚

äÓÌÚÓθÌ˚ ‰Ë̇ÏËÍË

쉇̇fl ÛÒÚ‡Ìӂ͇

ᇉÌflfl Ô‡ÌÂθ ìÒÚ‡Ìӂ͇ EMX

ÇÂÌÚËÎflˆËÓÌÌ˚ ÓÚ‚ÂÒÚËfl ÏËͯÂ‡ ‡ÒÔÓÎÓÊÂÌ˚ ÔÓ

·ÓÍ‡Ï Ë ÒÁ‡‰Ë ÛÒÚÓÈÒÚ‚‡. ìÒÚ‡ÌÓ‚ËÚ ÏËͯÂ Ú‡Í,

˜ÚÓ·˚ ‚ÂÌÚËÎflˆËÓÌÌ˚ ÓÚ‚ÂÒÚËfl Ì ·ÎÓÍËÓ‚‡ÎËÒ¸

ÒÚÂ̇ÏË ËÎË Ô‰ÏÂÚ‡ÏË.

30

EMX512SC/EMX312SC/EMX212S

èêàåÖóÄçàÖ

èÓËÒÍ Ë ÛÒÚ‡ÌÂÌË ÌÂËÒÔ‡‚ÌÓÒÚÂÈ

èÓËÒÍ Ë ÛÒÚ‡ÌÂÌË ÌÂËÒÔ‡‚ÌÓÒÚÂÈ

■ åËͯÂ Ì ‚Íβ˜‡ÂÚÒfl.

❑ àÒÔÓθÁÛÈÚ ÚÓθÍÓ ¯ÌÛ ÔËÚ‡ÌËfl, ‚ıÓ‰fl˘ËÈ ‚ ÍÓÏÔÎÂÍÚ ÔÓÒÚ‡‚ÍË. èÓ‚Â¸ÚÂ

Ô‡‚ËθÌÓÒÚ¸ ÔÓ‰Íβ˜ÂÌËfl ¯ÌÛ‡ ÔËÚ‡ÌËfl Í ‡Á˙ÂÏÛ AC IN Ë ËÒÔ‡‚ÌÓÈ ÒÂÚ‚ÓÈ

ÓÁÂÚÍÂ.

■ åËͯÂ ‚ÌÂÁ‡ÔÌÓ

❑ ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ‚ÂÌÚËÎflˆËÓÌÌ˚ ÓÚ‚ÂÒÚËfl Ò·ÓÍÛ Ë ÒÁ‡‰Ë ÏËͯÂ‡ ÌÂ

‚˚Íβ˜ËÎÒfl.

·ÎÓÍËÓ‚‡Ì˚.

ÅÎÓÍËÓ‚‡ÌË ‚ÂÌÚËÎflˆËÓÌÌ˚ı ÓÚ‚ÂÒÚËÈ EMX ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÂ„‚Û

ÛÒÚÓÈÒÚ‚‡. Ç ÒÎÛ˜‡Â ÔÂ„‚‡ ÔËÚ‡ÌË ÛÒÚÓÈÒÚ‚‡ ÏÓÊÂÚ ‚˚Íβ˜ËÚ¸Òfl

‡‚ÚÓχÚ˘ÂÒÍË. чÈÚ ÏËͯÂÛ ÓÒÚ˚Ú¸, Á‡ÚÂÏ ÒÌÓ‚‡ ‚Íβ˜ËÚ ÔËÚ‡ÌËÂ.

■ ÇÓÒÔÓËÁ‚‰ÂÌË Á‚Û͇

❑ ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ‚ÂÌÚËÎflˆËÓÌÌ˚ ÓÚ‚ÂÒÚËfl Ò·ÓÍÛ Ë ÒÁ‡‰Ë ÏËͯÂ‡ ÌÂ

‚ÌÂÁ‡ÔÌÓ ÔÂ‚‡ÎÓÒ¸.

·ÎÓÍËÓ‚‡Ì˚.

ÅÎÓÍËÓ‚‡ÌË ‚ÂÌÚËÎflˆËÓÌÌ˚ı ÓÚ‚ÂÒÚËÈ EMX ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÂ„‚Û

ÛÒÚÓÈÒÚ‚‡. èË ÔÂ„‚ ÏÓÊÂÚ ·˚Ú¸ ‚ÂÏÂÌÌÓ ÓÚÍβ˜ÂÌ ‚˚ıÓ‰ ‚ÌÛÚÂÌÌ„Ó

ÛÒËÎËÚÂÎfl ÏÓ˘ÌÓÒÚË. чÈÚ ÏËͯÂÛ ÓÒÚ˚Ú¸.

■ çÂÚ Á‚Û͇.

❑ èÓ‚Â¸Ú Ô‡‚ËθÌÓÒÚ¸ ÔÓ‰Íβ˜ÂÌËfl ÏËÍÓÙÓÌÓ‚, ‚̯ÌËı ÛÒÚÓÈÒÚ‚ Ë

‡ÍÛÒÚ˘ÂÒÍÓÈ ÒËÒÚÂÏ˚.

❑ ê„ÛÎflÚÓ LEVEL Ë ‰‚ Û˜ÍË MASTER ͇̇· ÛÒÚ‡ÌÓ‚ÎÂÌ˚ ‚ ÌÓχθÌ˚Â

ÔÓÎÓÊÂÌËfl?

❑ è‡‚ËθÌÓ ÎË ÛÒÚ‡ÌÓ‚ÎÂÌ ÔÂÂÍβ˜‡ÚÂθ POWER AMP? èË ‚˚‚Ó‰Â

ÒÚÂÂÓÒ˄̇· ÔÂ‚‰ËÚÂ Â„Ó ‚ ‚ÂıÌ ÔÓÎÓÊÂÌË (MAIN L/R).

❑ èÓ‚Â¸ÚÂ, Ì Á‡ÍÓÓ˜ÂÌ˚ ÎË Á‚ÛÍÓ‚˚ ͇·ÂÎË.

❑ ÖÒÎË ÔÓÒΠ‚˚ÔÓÎÌÂÌËfl ÔÂ˜ËÒÎÂÌÌ˚ı ‚˚¯Â ‰ÂÈÒÚ‚ËÈ ÔÓ·ÎÂχ Ì ËÒ˜ÂÁ·,

Ó·‡ÚËÚÂÒ¸ ‚ ÒÂ‚ËÒÌÛ˛ ÒÎÛÊ·Û ÍÓÏÔ‡ÌËË Yamaha. (ëÔËÒÓÍ ÒÂ‚ËÒÌ˚ı ˆÂÌÚÓ‚

Yamaha Ô˂‰ÂÌ ‚ ÍÓ̈ ‰‡ÌÌÓ„Ó ÛÍÓ‚Ó‰ÒÚ‚‡.)

■ á‚ÛÍ Ò··˚È, ËÒ͇ÊÂÌÌ˚È

❑ ìÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓ LEVEL Ë ‰‚ Û˜ÍË MASTER ͇̇· ‚ ÌÓχθÌ˚Â

ËÎË ‚ ÌÂÏ ÏÌÓ„Ó ÔÓÏÂı.

ÔÓÎÓÊÂÌËfl.

❑ èÓ‚Â¸Ú Ô‡‚ËθÌÓÒÚ¸ ̇ÒÚÓÈÍË ÔÂÂÍβ˜‡ÚÂÎÂÈ LINE/MIC ͇̇ÎÓ‚ 1–4.

❑ ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ÓÚÒÛÚÒÚ‚ÛÂÚ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÔÓ‰Íβ˜ÂÌËÂ Í „ÌÂÁ‰‡Ï INPUT A

Ë INPUT B ͇̇ÎÓ‚ 1–4. (é‰ÌÓ‚ÂÏÂÌÌÓ ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÚÓθÍÓ Ó‰ËÌ ‚ıÓ‰ ˝ÚËı

͇̇ÎÓ‚.)

❑ èÓ‚Â¸Ú Ô‡‚ËθÌÓÒÚ¸ ̇ÒÚÓÈÍË ÛÓ‚Ìfl ‚ıÓ‰ÌÓ„Ó Ò˄̇·, ÔÓ‰‡‚‡ÂÏÓ„Ó Ò

ÔÓ‰Íβ˜ÂÌÌÓ„Ó ÛÒÚÓÈÒÚ‚‡.

■ à̉Ë͇ÚÓ FCL „ÓËÚ ÔË

❑ èÓ‰‡˜‡ ÌÂÔÂ˚‚ÌÓ„Ó Á‚ÛÍÓ‚Ó„Ó Ò˄̇· (̇ÔËÏÂ, Ò ÔÓË„˚‚‡ÚÂÎfl

ÓÚÒÛÚÒÚ‚ËË Ì‡ ͇̇ÎÂ

ÍÓÏÔ‡ÍÚ-‰ËÒÍÓ‚) ÏÓÊÂÚ ÔË‚ÂÒÚË Í „ÓÂÌ˲ Ë̉Ë͇ÚÓ‡ ‰‡Ê ÔË ÓÚÒÛÚÒÚ‚ËË

‡ÍÛÒÚ˘ÂÒÍÓÈ Ó·‡ÚÌÓÈ Ò‚flÁË.

Ó·‡ÚÌÓÈ Ò‚flÁË.

■ ç ۉ‡ÂÚÒfl ÛÒÎ˚¯‡Ú¸

❑ èÓ‚Â¸Ú Ô‡‚ËθÌÓÒÚ¸ ÛÒÚ‡ÌÓ‚ÍË „ÛÎflÚÓ‡ EFFECT Í‡Ê‰Ó„Ó Í‡Ì‡Î‡.

ÂÁÛÎ¸Ú‡Ú ‚ÒÚÓÂÌÌÓ„Ó

❑ ì·Â‰ËÚÂÒ¸, ˜ÚÓ ‚˚Íβ˜‡ÚÂθ ON ‚ÌÛÚÂÌÌÂ„Ó ˝ÙÙÂÍÚ-ÔÓˆÂÒÒÓ‡ ‚Íβ˜ÂÌ.

❑ ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ Û˜ÍË EFFECT RETURN ÒÂ͈ËÈ MAIN Ë MONITOR

ˆËÙÓ‚Ó„Ó ˝ÙÙÂÍÚ‡.

ÛÒÚ‡ÌÓ‚ÎÂÌ˚ ‚ Ô‡‚ËθÌ˚ ÔÓÎÓÊÂÌËfl.

■ á‚ÛÍ, ‚˚‚Ó‰ËÏ˚È

❑ èÓÔÓ·ÛÈÚ ‚Íβ˜ËÚ¸ ÔÓˆÂÒÒÓ Ó·‡·ÓÚÍË Á‚Û͇ YS.

‡ÍÛÒÚ˘ÂÒÍËÏË ÒËÒÚÂχÏË,

❑ éÚ„ÛÎËÛÈÚ ˝Í‚‡Î‡ÈÁÂ˚ („ÛÎflÚÓ˚ HIGH, MID Ë LOW) Í‡Ê‰Ó„Ó Í‡Ì‡Î‡.

❑ éÚ„ÛÎËÛÈÚ „‡Ù˘ÂÒÍË ˝Í‚‡Î‡ÈÁÂ˚.

͇ÊÂÚÒfl „ÎÛıËÏ.

Ç˚ ıÓÚËÚ ÔÓÎÛ˜ËÚ¸ ·ÓÎÂÂ

ÏÓ˘Ì˚È Á‚ÛÍ.

■ Ç˚ ıÓÚËÚÂ, ˜ÚÓ·˚ ˜¸ ·˚·

❑ ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ÔÓˆÂÒÒÓ Ó·‡·ÓÚÍË Á‚Û͇ YS ‚˚Íβ˜ÂÌ.

·ÓΠ‡Á΢Ëχ.

❑ ê„ÛÎËӂ͇ ˝Í‚‡Î‡ÈÁÂÓ‚ („ÛÎflÚÓ˚ HIGH, MID Ë LOW) Í‡Ê‰Ó„Ó Í‡Ì‡Î‡.

❑ ê„ÛÎËӂ͇ „‡Ù˘ÂÒÍËı ˝Í‚‡Î‡ÈÁÂÓ‚.

■ í·ÛÂÚÒfl ÔÓÒÎÛ¯‡Ú¸

❑ èÓ‰Íβ˜ËÚ ‰Ë̇ÏËÍ ÒÓ ‚ÒÚÓÂÌÌ˚Ï ÛÒËÎËÚÂÎÂÏ Í „ÌÂÁ‰Û MONITOR OUT. á‡ÚÂÏ

ÏÓÌËÚÓÌ˚È ‚˚ıÓ‰.

ÓÚ„ÛÎËÛÈÚ Ò˄̇ΠMONITOR OUT, ÔÓ‚Ó‡˜Ë‚‡fl Û˜ÍË MONITOR ͇̇· Ë Û˜ÍÛ

MASTER ÒÂ͈ËË MONITOR.

❑ ÖÒÎË Ú·ÛÂÚÒfl ‚˚‚ÂÒÚË ÏÓÌËÚÓÌ˚È Ò˄̇Π̇ „ÌÂÁ‰‡ SPEAKERS B1 Ë B2,

ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ POWER AMP ‚ ÌËÊÌ ÔÓÎÓÊÂÌË (MAIN (L+R)/MON).

é·‡ÚËÚ ‚ÌËχÌË ̇ ÚÓ, ˜ÚÓ ‚ ˝ÚÓÏ ÒÎÛ˜‡Â „ÌÂÁ‰‡ B ·Û‰ÛÚ ‚˚‚Ó‰ËÚ¸ ÏÓÌËÚÓÌ˚È

Ò˄̇Î, ‡ „ÌÂÁ‰‡ A — ÏËͯËÓ‚‡ÌÌ˚È ÒÚÂÂÓÒ˄̇ΠMAIN L Ë MAIN R.

EMX512SC/EMX312SC/EMX212S

31

íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË

íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË

■ 鷢ˠı‡‡ÍÚÂËÒÚËÍË

Ç˚ıÓ‰ RL ìÒÎÓ‚Ëfl ëòÄ Ä‚ÒÚ‡ÎËfl Öë ÖÑ. àáå.

4 Ω

500 500 500

EMX512SC

8 Ω 350 350 320

é·‡ ͇̇·, 1 ÍɈ,

å‡ÍÒËχθ̇fl ‚˚ıӉ̇fl

4 Ω 300 300 300

SPEAKERS OUT

EMX312SC

ÒÛÏχÌ˚È ÍÓ˝ÙÙˈËÂÌÚ

åàç

ÇÚ

ÏÓ˘ÌÓÒÚ¸

8 Ω 190 190 180

„‡ÏÓÌËÍ (THD+N) 0,5%

<

=

4 Ω 220 220 220

EMX212S

8 Ω 130 130 130

ÇıÓ‰ Ç˚ıÓ‰ RL ìÒÎÓ‚Ëfl åàç çéå åÄäë ÖÑ. àáå.

MAIN OUT, MONITOR OUT,

10 ÍΩ

CH1–4 MIC/LINE: MIC

–3,0 0,01,0

ó‡ÒÚÓÚ̇fl ı‡‡ÍÚÂËÒÚË͇ CH INPUT 1–11/12

EFFECT OUT, REC OUT

20 Ɉ–20 ÍɈ, 0 ‰Å

‰Å

SPEAKERS OUT 4 Ω –3,0 0,01,0

ÔË 1 ÍɈ

å‡ÍÒ. ÛÒËÎÂÌË ÔÓ

CH 1–4 INPUT B,

Rs = 150 CH1–4

MAIN OUT, MONITOR OUT 10 ÍΩ

65 ‰Å

̇ÔflÊÂÌ˲ ÔË 1 ÍɈ

CH 5/6–11/12 MIC

MIC/LINE:MIC

ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –60 ‰ÅÌ

MAIN OUT

2,0 4,0 6,0

CH1–4 MIC/LINE:MIC

ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –60 ‰ÅÌ

2,0 4,0 6,0

‰ÅÌMONITOR OUT

CH 1–4 INPUT B,

CH1–4 MIC/LINE:MIC

CH 5/6–11/12 MIC

ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –60 ‰ÅÌ

EFFECT OUT

–8,0 –6,0 –4,0

CH1–4 MIC/LINE:MIC

é¯Ë·Í‡ ÛÒËÎÂÌËfl ÔË 1 ÍɈ

ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –60 ‰ÅÌ

REC OUT

10 ÍΩ

–12,0 –10,0 –8,0 ‰Å‚

àÁÏÂflÂÚÒfl ‚ ͇ʉÓÏ ·ÎÓÍ ͇̇·.

CH1–4 MIC/LINE:MIC

ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –50 ‰ÅÌ

CH 1–4 INPUT A MAIN OUT

2,0 4,0 6,0

MIC/LINE:MIC

CH 5/6–7/8 LINE

MAIN OUT ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –20 ‰ÅÌ 2,0 4,0 6,0

‰ÅÌ

(¯ÚÂÍÂ)

CH 9/10–11/12 LINE

MAIN OUT ÇıÓ‰ÌÓÈ ÛÓ‚Â̸: –20 ‰ÅÌ 2,0 4,0 6,0

(¯Ú˚¸)

ëÛÏχÌ˚È ÍÓ˝ÙÙˈËÂÌÚ

„‡ÏÓÌËÍ

MAIN OUT, MONITOR OUT,

+14 ‰ÅÌ ÔË 20 Ɉ,

CH INPUT 1–11/12

10 ÍΩ

0,5 %

àÁÏÂflÂÚÒfl ‚ ͇ʉÓÏ ·ÎÓÍ ͇̇·.

EFFECT OUT, REC OUT

1 ÍɈ, 20 ÍɈ

(THD+N)

CH 1–4 INPUT B,

EIN, Rs = 150Ω CH1–4

MAIN OUT

–115

ÉÛÎ Ë ¯ÛÏ

CH 5/6–11/12 MIC

MIC/LINE:MIC

20 Ɉ–20 ÍɈ

10 ÍΩ

Ç˚ıÓ‰ÌÓÈ ¯ÛÏ

‰ÅÌ

àÁÏÂflÂÚÒfl ‚ ͇ʉÓÏ ·ÎÓÍ ͇̇·.

MAIN OUT, MONITOR OUT,

EIN = ùÍ‚Ë‚‡ÎÂÌÚÌ˚È ‚ıÓ‰ÌÓÈ ¯ÛÏ

CH INPUT 1–11/12

Rs = 150 Ω CH1–4

–50

EFFECT OUT

MIC/LINE:MIC

MAIN OUT L, R

–90

éÒÚ‡ÚÓ˜Ì˚È ‚˚ıÓ‰ÌÓÈ ¯ÛÏ

10 ÍΩ

éÒÌÓ‚Ì˚ „ÛÎflÚÓ˚ ‚

—

ÔÓÎÓÊÂÌËË ÏËÌËχθÌÓ„Ó

‰ÅÌMONITOR OUT –90

(20 Ɉ–20 ÍɈ)

ÛÓ‚Ìfl.

SPEAKERS OUT 4 Ω –65

ÇıÓ‰ Ç˚ıÓ‰ ìÒÎÓ‚Ëfl åàç çéå åÄäë ÖÑ. àáå.

èÂÂÍÂÒÚÌ˚ ÔÓÏÂıË

ëÏÂÊÌ˚ ‚ıÓ‰˚ ͇̇ÎÓ‚ –65

(1 ÍɈ)

CH1–4

ÇıÓ‰ — ‚˚ıÓ‰ („ÛÎflÚÓ˚ LEVEL

‰Å

àÁÏÂflÂÚÒfl ‚ ͇ʉÓÏ ·ÎÓÍ ͇̇·.

MAIN OUT

–65

‚ ÏËÌËχθÌÓÏ ÔÓÎÓÊÂÌËË)

Ç˚ıÓ‰ — åàç çéå åÄäë ÖÑ. àáå.

î‡ÌÚÓÏÌÓ ̇ÔflÊÂÌËÂ

CH 1–4 INPUT B,

— ÅÂÁ ̇„ÛÁÍË 14 15 16 Ç

àÁÏÂflÂÚÒfl ‚ ͇ʉÓÏ ·ÎÓÍ ͇̇·.

CH 5/6–11/12 MIC

HIGH ó‡ÒÚÓÚ‡ ÔÂ‚ÓÓÚ‡/ÒÔ‡‰‡

10 Í (҄·ÊË‚‡ÌËÂ)

҄·ÊË‚‡˛˘Â„Ó ÙËθÚ‡: 3 ‰Å ÌËÊÂ

äÓÂ͈Ëfl CH & ST CH

MID 2,5 Í (ÔËÍÓ‚˚È)

Ɉ

χÍÒËχθÌÓ„Ó ÛÓ‚Ìfl.

LOW 100 (҄·ÊË‚‡ÌËÂ)

χÍÒ. ±15 ‰Å

16 ÔÓ„‡ÏÏ

ÇÌÛÚÂÌÌËÈ ˆËÙÓ‚ÓÈ

ê„ÛÎflÚÓ Ô‡‡ÏÂÚÓ‚

˝ÙÙÂÍÚ

FOOT SW ON/OFF

2 × Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ ÛÓ‚Ìfl Ò 5 ÚӘ͇ÏË [MAIN (L, R)], Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ ÛÓ‚Ìfl Ò 5 ÚӘ͇ÏË [MONITOR]

à̉Ë͇ÚÓ˚ ÛÓ‚Ìfl

+6, +3, 0, –5, –10 [‰Å]

óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ FCL ìÓ‚Â̸ ‚ıÓ‰ÌÓ„Ó Ò˄̇· –75 ‰ÅÌ: Ë̉Ë͇ÚÓ „ÓËÚ, CH1–4 MIC/LINE:MIC ‚ıÓ‰ B, CH 5/6–11/12 ‚ıÓ‰ MIC

>

=

Ç˚Íβ˜‡ÚÂθ POWER Ò ‚ÓÁÏÓÊÌÓÒÚ¸˛ ÔË„ÎÛ¯ÂÌËfl Á‚Û͇

éÚ͇Á ÔËÚ‡ÌËfl: ÓÚÍβ˜ÂÌË ËÒÚÓ˜ÌË͇ ÔËÚ‡ÌËfl / Û˜ÌÓÈ Ò·ÓÒ

ᇢËÚ‡ ÓÚ ÔÂ„‚‡ / ÚÂÏÔÂ‡ÚÛ‡ ‡‰Ë‡ÚÓ‡ 90°C: ÔË„ÎÛ¯ÂÌË ‚˚ıÓ‰ÌÓ„Ó Ò˄̇· / ‡‚ÚÓχÚ˘ÂÒÍËÈ

ìÒËÎËÚÂθ ÏÓ˘ÌÓÒÚË

ᇢËÚ‡

Ò·ÓÒ

é„‡Ì˘ËÚÂθ Vl/RL 2 Ω

é„‡Ì˘ËÚÂθ ÔÂ„ÛÁÍË / ÒÛÏχÌ˚ı ÌÂÎËÌÂÈÌ˚ı ËÒ͇ÊÂÌËÈ 1% , Ë̉Ë͇ÚÓ × 2

ùÎÂÍÚÓÔËÚ‡ÌË ᇢËÚ‡ ÓÚ ÔÂ„‚‡ / ÚÂÏÔÂ‡ÚÛ‡ ‡‰Ë‡ÚÓ‡ 100°C: ÓÚÍβ˜ÂÌË ËÒÚÓ˜ÌË͇ ÔËÚ‡ÌËfl / Û˜ÌÓÈ Ò·ÓÒ

32

EMX512SC/EMX312SC/EMX212S

<

=

>

=

íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË

åàç çéå åÄäë ÖÑ. àáå.

EMX512SC 500

ùÌÂ„ÓÔÓÚ·ÎÂÌËÂ

ÇÚEMX312SC 450

EMX212S 300

òÌÛ ÔËÚ‡ÌËfl ÑÎË̇ 2450 2500 2550 ÏÏ

Ç˚ÒÓÚ‡ 284

ê‡ÁÏÂ˚

ÏÏÉÎÛ·Ë̇ 264

òËË̇ 442,5

ÇÂÒ ·ÂÁ ÛÔ‡ÍÓ‚ÍË 8Í„

èË̇‰ÎÂÊÌÓÒÚË,

‚ıÓ‰fl˘Ë ‚ ÍÓÏÔÎÂÍÚ

òÌÛ ÔËÚ‡ÌËfl, ÂÁËÌÓ‚˚ ÒÚ‡·ËÎËÁ‡ÚÓ˚ × 2, ÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl

ÔÓÒÚ‡‚ÍË

ÑÓÔÓÎÌËÚÂθÌ˚Â

äéåèãÖäí Ñ㸠ìëíÄçéÇäà Ç ëíéâäì (RK512), èÖÑÄãúçõâ èÖêÖäãûóÄíÖãú (FC5)

ÔË̇‰ÎÂÊÌÓÒÚË

èËϘ‡ÌËÂ. ÇÒ „ÛÎflÚÓ˚ ÛÓ‚Ìfl ÛÒÚ‡ÌÓ‚ÎÂÌ˚ ‚ χÍÒËχθÌÓ ÔÓÎÓÊÂÌËÂ, ‚˚ıÓ‰ÌÓ ÒÓÔÓÚË‚ÎÂÌË „ÂÌÂ‡ÚÓ‡ Ò˄̇·: 150 éÏ

■ ÇıÓ‰Ì˚ ı‡‡ÍÚÂËÒÚËÍË

î‡ÍÚ˘ÂÒÍÓÂ

ÇıÓ‰ÌÓÈ ÛÓ‚Â̸

ÑÎfl ËÒÔÓθÁÓ‚‡ÌËfl Ò

ÇıÓ‰Ì˚ ‡Á˙ÂÏ˚ MIC/LINE

ÒÓÔÓÚË‚ÎÂÌ

ÌÓÏË̇ÎÓÏ

óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ

çÓÏË̇Î

å‡ÍÒ. ÔÂ‰

ê‡Á˙ÂÏ

Ë ̇„ÛÁÍË

¸ *2

(ÔÓÎÓÊÂÌËÂ ▼)

ÔÂ„ÛÁÍÓÈ

-60 ‰ÅÌ

-35 ‰ÅÌ (13,8

-15 ‰ÅÌ

MIC

(0,775 ÏÇ)

ÏÇ)

(138 ÏÇ)

XLR

2 ÍΩ åËÍÓÙÓÌ˚ 50–600 Ω

íËÔ XLR-3-31 *3

-30 ‰ÅÌ

-5 ‰ÅÌ

+15 ‰ÅÌ

LINE

(24,5 ÏÇ)

(436 ÏÇ)

(4,36 Ç)

CH INPUT 1–4

-50 ‰ÅÌ

-25 ‰ÅÌ

-5 ‰ÅÌ

MIC

(2,45 ÏÇ)

(43,6 ÏÇ)

(436 ÏÇ)

òÚÂÍÂ

6 ÍΩ ãËÌÂÈÌ˚ ÛÓ‚ÌË 600 Ω

òÚÂÍÂÌÓ „ÌÂÁ‰Ó *4

-20 ‰ÅÌ

+5 ‰ÅÌ

+25 ‰ÅÌ

LINE

(77,5 ÏÇ)

(1,38 Ç)

(13,8 Ç)

-60 ‰ÅÌ

-35 ‰ÅÌ

-15 ‰ÅÌ

XLR — 2 ÍΩ åËÍÓÙÓÌ˚ 50–600 Ω

íËÔ XLR-3-31 *3

CH INPUT

(0,775 ÏÇ)

(13,8 ÏÇ)

(138 ÏÇ)

5/6, 7/8

-20 ‰ÅÌ

+5 ‰ÅÌ

+25 ‰ÅÌ

òÚÂÍÂ — 10 ÍΩ ãËÌÂÈÌ˚ ÛÓ‚ÌË 600 Ω

òÚÂÍÂÌÓ „ÌÂÁ‰Ó *5

(77,5 ÏÇ)

(1,38 Ç)

(13,8 Ç)

-60 ‰ÅÌ

-35 ‰ÅÌ

-15 ‰ÅÌ

XLR — 2 ÍΩ åËÍÓÙÓÌ˚ 50–600 Ω

íËÔ XLR-3-31 *3

CH INPUT

(0,775 ÏÇ)

(13,8 ÏÇ)

(138 ÏÇ)

9/10, 11/12

-20 ‰ÅÌ

+5 ‰ÅÌ

+25 ‰ÅÌ

òÚ˚¸ — 10 ÍΩ ãËÌÂÈÌ˚ ÛÓ‚ÌË 600 Ω

ÉÌÂÁ‰Ó RCA

(77,5 ÏÇ)

(1,38 Ç)

(13,8 Ç)

*1 0 ‰ÅÌ = 0,775 Ò‰ÌÂÍ‚‡‰‡Ú˘ÂÒÍÓ„Ó ‚Óθڇ.

*2 óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸: Ò‡Ï˚È ÌËÁÍËÈ ÛÓ‚Â̸ Ò˄̇·, Ó·ÂÒÔ˜˂‡˛˘ËÈ ‚˚ıÓ‰ÌÓÈ ÛÓ‚Â̸ +4 ‰Å (1,23 Ç) ËÎË ÌÓÏË̇θÌ˚È ‚˚ıÓ‰ÌÓÈ ÛÓ‚Â̸, ÂÒÎË Á‡‰‡ÌÓ

χÍÒËχθÌÓ ÛÒËÎÂÌË Ò˄̇· ‚ ÛÒÚÓÈÒÚ‚Â. (ÇÒ „ÛÎflÚÓ˚ ÛÓ‚Ìfl ÛÒÚ‡ÌÓ‚ÎÂÌ˚ ‚ ÔÓÎÓÊÂÌË χÍÒËÏÛχ.)

*3 ê‡Á˙ÂÏ˚ ÚËÔ‡ XLR-3-31 fl‚Îfl˛ÚÒfl ·‡Î‡ÌÒÌ˚ÏË. (1 = áÖåã¸, 2 = Ééê¸óàâ, 3 = ïéãéÑçõâ)

*4 ëËÏÏÂÚ˘Ì˚ ¯ÚÂÍÂÌ˚ „ÌÂÁ‰‡. (̇ÍÓ̘ÌËÍ=ÔβÒ, ÍÓθˆÓ=ÏËÌÛÒ, „ËθÁ‡=Á‡ÁÂÏÎÂÌËÂ)

*5 緇·ÌÒÌ˚ ¯ÚÂÍÂÌ˚ „ÌÂÁ‰‡.

■ Ç˚ıÓ‰Ì˚ ı‡‡ÍÚÂËÒÚËÍË

î‡ÍÚ˘ÂÒÍÓÂ

Ç˚ıÓ‰ÌÓÈ ÛÓ‚Â̸

ÑÎfl ËÒÔÓθÁÓ‚‡ÌËfl Ò

Ç˚ıÓ‰

ÒÓÔÓÚË‚ÎÂÌËÂ

å‡ÍÒ. ÔÂ‰

ê‡Á˙ÂÏ

ÌÓÏË̇ÎÓÏ

ËÒÚÓ˜ÌË͇

çÓÏË̇Î

ÔÂ„ÛÁÍÓÈ

EMX512SC 125 ÇÚ 500 ÇÚ

SPEAKERS

[A1, B1] SPEAKON

0,1 Ω ÑË̇ÏËÍË 4Ω

EMX312SC 75 ÇÚ 300 ÇÚ

[A1, A2, B1, B2]

òÚÂÍÂÌÓ „ÌÂÁ‰Ó [A2, B2]

EMX212S 50 ÇÚ 220 ÇÚ

ãËÌÂÈÌ˚ ÛÓ‚ÌË

MAIN OUT [L, R] 600 Ω

— +4 ‰ÅÌ (1,23 Ç) +20 ‰ÅÌ (7,75 Ç) òÚÂÍÂÌÓ „ÌÂÁ‰Ó *2

10 ÍΩ

ãËÌÂÈÌ˚ ÛÓ‚ÌË

EFFECT OUT 600 Ω

— +4 ‰ÅÌ (1,23 Ç) +20 ‰ÅÌ (7,75 Ç) òÚÂÍÂÌÓ „ÌÂÁ‰Ó *2

10 ÍΩ

ãËÌÂÈÌ˚ ÛÓ‚ÌË

MONITOR OUT 600 Ω

— +4 ‰ÅÌ (1,23 Ç) +20 ‰ÅÌ (7,75 Ç) òÚÂÍÂÌÓ „ÌÂÁ‰Ó *2

10 ÍΩ

ãËÌÂÈÌ˚ ÛÓ‚ÌË

REC OUT [L, R] 600 Ω

— –10 ‰Å‚ (316 ÏÇ) +10 ‰Å‚ (3,16 Ç) ÉÌÂÁ‰Ó RCA

10 ÍΩ

*1 0 ‰ÅÌ = 0,775 Ò‰ÌÂÍ‚‡‰‡Ú˘ÂÒÍÓ„Ó ‚Óθڇ. 0 ‰Å‚ = 1 Ò‰ÌÂÍ‚‡‰‡Ú˘ÂÒÍÓÏÛ ‚ÓθÚÛ.

*2 緇·ÌÒÌ˚ ¯ÚÂÍÂÌ˚ „ÌÂÁ‰‡.

íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË Ë ‡ÁÏÂ˚ ÔË‚Ó‰flÚÒfl ‚ ‰‡ÌÌÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl ËÒÍβ˜ËÚÂθÌÓ ‚ ÒÔ‡‚Ó˜Ì˚ı ˆÂÎflı. äÓÔÓ‡ˆËfl Yamaha Corp. ÓÒÚ‡‚ÎflÂÚ

Á‡ ÒÓ·ÓÈ Ô‡‚Ó ËÁÏÂÌflÚ¸ ËÎË ÏÓ‰ËÙˈËÓ‚‡Ú¸ ÔÓ‰ÛÍÚ˚ ËÎË ÚÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË ‚ β·Ó ‚ÂÏfl ·ÂÁ Ô‰‚‡ËÚÂθÌÓ„Ó Û‚Â‰ÓÏÎÂÌËfl. í‡Í Í‡Í ÚÂıÌ˘ÂÒÍËÂ

ı‡‡ÍÚÂËÒÚËÍË, Ó·ÓÛ‰Ó‚‡ÌËÂ Ë ÍÓÏÔÓÌÂÌÚ˚ ÏÓ„ÛÚ ‡Á΢‡Ú¸Òfl ‚ ‡ÁÌ˚ı ÒÚ‡Ì‡ı, Ó·‡ÚËÚÂÒ¸ Á‡ ËÌÙÓχˆËÂÈ Í Ò‚ÓÂÏÛ ‰ËÎÂÛ Yamaha.

EMX512SC/EMX312SC/EMX212S

33

íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË

ëıÂχ ÛÒÚÓÈÒÚ‚‡ Ò Û͇Á‡ÌËÂÏ ‡ÁÏÂÓ‚

442.5

4402.5

286 264

66.1

307.8

66.1

71

298

71

54108 2842

Ö‰. ËÁÏÂ.: ÏÏ

Unit: mm

34

EMX512SC/EMX312SC/EMX212S

íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË

ÅÎÓÍ-ÒıÂχ Ë ‰Ë‡„‡Ïχ ÛÓ‚ÌÂÈ

EMX512SC/EMX312SC/EMX212S

35

одробную информацию о продуктах можно получить у ближайших представителей компании Yamaha или авторизованного

дистрибьютора, список которых приведен ниже.

MALTA

NORTH AMERICA

ASIA

Olimpus Music Ltd.

CANADA

The Emporium, Level 3, St. Louis Street Msida

THE PEOPLE S REPUBLIC OF CHINA

Yamaha Canada Music Ltd.

MSD06

Yamaha Music & Electronics (China) Co.,Ltd.

135 Milner Avenue, Scarborough, Ontario,

Tel: 02133-2144

2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,

M1S 3R1, Canada

Shanghai, China

THE NETHERLANDS/

Tel: 416-298-1311

Tel: 021-6247-2211

BELGIUM/LUXEMBOURG

U.S.A.

INDIA

Yamaha Music Europe Branch Benelux

Yamaha Corporation of America

Clarissenhof 5-b, 4133 AB Vianen, The Netherlands

Yamaha Music India Pvt. Ltd.

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

Tel: 0347-358 040

Spazedge building, Ground Floor, Tower A, Sector

U.S.A.

47, Gurgaon- Sohna Road, Gurgaon, Haryana, India

FRANCE

Tel: 714-522-9011

Tel: 0124-485-3300

Yamaha Music Europe

INDONESIA

BP 70-77312 Marne-la-Vall e Cedex 2, France

CENTRAL & SOUTH AMERICA

Tel: 01-64-61-4000

PT. Yamaha Musik Indonesia (Distributor)

PT. Nusantik

MEXICO

ITALY

Gedung Yamaha Music Center, Jalan Jend. Gatot

Yamaha de M xico S.A. de C.V.

Yamaha Music Europe GmbH, Branch Italy

Subroto Kav. 4, Jakarta 12930, Indonesia

Calz. Javier Rojo G mez #1 149,

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 021-520-2577

Col. Guadalupe del Moral

Tel: 02-935-771

C.P. 09300, M xico, D.F., M xico

KOREA

SPAIN/PORTUGAL

Tel: 55-5804-0600

Yamaha Music Korea Ltd.

Yamaha Music Europe GmbH Ib rica, Sucursal

8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,

BRAZIL

en Espa a

Kangnam-Gu, Seoul, Korea

Yamaha Musical do Brasil Ltda.

Ctra. de la Coruna km. 17, 200, 28230

Tel: 02-3467-3300

Rua Joaquim Floriano, 913 — 4’ andar, Itaim Bibi,

Las Rozas (Madrid), Spain

CEP 04534-013 Sao Paulo, SP. BRAZIL

MALAYSIA

Tel: +34-902-39-8888

Tel: 011-3704-1377

Yamaha Music (Malaysia) Sdn., Bhd.

GREECE

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

ARGENTINA

Philippos Nakas S.A. The Music House

Petaling Jaya, Selangor, Malaysia

Yamaha Music Latin America, S.A.

147 Skiathou Street, 112-55 Athens, Greece

Tel: 03-78030900

Sucursal de Argentina

Tel: 01-228 2160

Olga Cossettini 1553, Piso 4 Norte

SINGAPORE

SWEDEN/FINLAND/ICELAND

Madero Este-C1107CEK

Yamaha Music (Asia) PRIVATE LIMITED

Yamaha Music Europe GmbH Germany filial

Buenos Aires, Argentina

Blk 202 Hougang Street 21, #02-00,

Scandinavia

Tel: 011-4119-7000

Singapore 530202, Singapore

J. A. Wettergrens Gata 1, Box 30053

Tel: 6747-4374

PANAMA AND OTHER LATIN

S-400 43 G tebor g, Sweden

AMERICAN COUNTRIES/

TAIWAN

Tel: 031 89 34 00

CARIBBEAN COUNTRIES

Yamaha KHS Music Co., Ltd.

DENMARK

Yamaha Music Latin America, S.A.

3F, #6, Sec.2, Nan Jing E. Rd. Taipei.

Yamaha Music Europe GmbH, Tyskland — filial

Torre Banco General, Piso 7, Urbanizaci n Marbella,

Taiwan 104, R.O.C.

Denmark

Calle 47 y Aquilino de la Guardia,

Tel: 02-2511-8688

Generatorvej 6A, DK-2730 Herlev, Denmark

Ciudad de Panam , Panam

THAILAND

Tel: 44 92 49 00

Tel: +507-269-5311

Siam Music Yamaha Co., Ltd.

NORWAY

4, 6, 15 and 16th floor, Siam Motors Building,

Yamaha Music Europe GmbH Germany —

EUROPE

891/1 Rama 1 Road, Wangmai,

Norwegian Branch

Pathumwan, Bangkok 10330, Thailand

THE UNITED KINGDAM/IRELAND

Grini N ringspark 1, N-1345 flster s, Norway

Tel: 02-215-2622

Yamaha Music Europe GmbH (UK)

Tel: 67 16 77 70

OTHER ASIAN COUNTRIES

Sherbourne Drive, Tilbrook, Milton Keynes,

RUSSIA

Yamaha Corporation,

MK7 8BL, England

Yamaha Music (Russia)

Asia-Pacific Sales & Marketing Group

Tel: 01908-366700

Room 37, bld. 7, Kievskaya street, Moscow,

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

GERMANY

121059, Russia

Japan 430-8650

Yamaha Music Europe GmbH

Tel: 495 626 5005

Tel: +81-53-460-2303

Siemensstra§e 22-34, 25462 Rellingen, Germany

OTHER EUROPEAN COUNTRIES

Tel: 04101-3030

Yamaha Music Europe GmbH

OCEANIA

SWITZERLAND/LIECHTENSTEIN

Siemensstra§e 22-34, 25462 Rellingen, Germany

AUSTRALIA

Yamaha Music Europe GmbH

Tel: +49-4101-3030

Branch Switzerland in Z rich

Yamaha Music Australia Pty. Ltd.

Seefeldstrasse 94, 8008 Z rich, Switzerland

Level 1, 99 Queensbridge Street, Southbank,

AFRICA

Tel: 044-387-8080

Victoria 3006, Australia

Yamaha Corporation,

Tel: 3-9693-5111

AUSTRIA/BULGARIA

Asia-Pacific Sales & Marketing Group

COUNTRIES AND TRUST

Yamaha Music Europe GmbH Branch Austria

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

Schleiergasse 20, A-1100 Wien, Austria

TERRITORIES IN PACIFIC OCEAN

Japan 430-8650

Tel: 01-60203900

Yamaha Corporation,

Tel: +81-53-460-2303

Asia-Pacific Sales & Marketing Group

CZECH REPUBLIC/HUNGARY/

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

ROMANIA/SLOVAKIA/SLOVENIA

MIDDLE EAST

Japan 430-8650

Yamaha Music Europe GmbH

TURKEY/CYPRUS

Tel: +81-53-460-2303

Branch Austria (Central Eastern Europe Office)

Yamaha Music Europe GmbH

Schleiergasse 20, A-1100 Wien, Austria

Siemensstra§e 22-34, 25462 Rellingen, Germany

Tel: 01-602039025

Tel: 04101-3030

POLAND/LITHUANIA/LATVIA/ESTONIA

OTHER COUNTRIES

Yamaha Music Europe GmbH

Yamaha Music Gulf FZE

Branch Sp.z o.o. Oddzial w Polsce

LOB 16-513, P.O.Box 17328, Jubel Ali,

ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland

Dubai, United Arab Emirates

Tel: 022-500-2925

Tel: +971-4-881-5868

PA30

HEAD OFFICE Ya maha Corporation, Pro Audio Division

Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2441

Yamaha Pro Audio global web site

C.S.G., Pro Audio Division

http://www.yamahaproaudio.com/

© 2005-2012 Yamaha Corporation

Yamaha Manual Library

WQ44820 202CRAP*.*-**F0

http://www.yamaha.co.jp/manual/

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