Manual Yamaha EMX 512 (page 17 of 36) (English)

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Making the Most of Your Mixer

EMX512SC/EMX312SC/EMX212S

BASIC

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.

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.

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

caused by external processing.

(Refer to page 22).

You need to be careful not to

overdo effects, however, because

going to far can undermine the

clarity and quality of your mix.

Use your ambience effects just

enough to create the required

feeling of depth, but no more than

is necessary to keep your sound

clean.

Reverb and Delay Time

A variety of reverb and delay

effect programs are provided,

and nearly all of then have a

reverb/delay time parameter than

can be adjusted via the panel

PARAMETER control.

Small adjustments to the reverb/

delay time can actually have a

significant effect on the sound.

The optimum reverb time for a

piece of music will depend on the

music’s demo and density, but as

a general rule longer reverb times

are good for ballads, while shorter

reverb times are more suited to

up-tempo tunes. 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

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.

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

Signal

Level (dB)

Frequency (Hz)

LOW Boost

LOW Flat

LOW Cut

MID Boost

MID Flat

HIGH Boost

HIGH Flat

HIGH Cut

MID Cut

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Yamaha EMX 512 Manual

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