System Examples

For Guitarist

(Song Writer)

Synthsizer (MO6 etc.) HS Speakers HDD Audio player Acoustic Guitar Preamp for Acoustic Guitar Turn table (Record Player) HS Speakers
For DJ Mixing and Podcasting
Mic Turn table (Record Player) USB Desktop PC MW10 NOTE PC USB MW10

For Vocal Recording

Mics (Condenser Microphones) Headphone

For Making Video

(Audio Capture)
CD Player MD Player etc. HS Speakers
IEEE1394 or FireWire Video Camera USB NOTE PC MW12 Desktop PC USB

Specifications

Electrical Characteristics
MW10 20Hz~20kHz (ST Out) Equivalent Input Noise (CH IN /MIC) Hum & Noise Rs=150 ohms, Residual Output Noise (ST OUT) Gain=Maximum (CH INPUT 1-2), ST master control at nominal level and all Hum & Noise are measured with a -6 dB/octave filter @12.7 kHz; channel LEVEL controls at minimum level. (ST OUT) equivalent to a 20 kHz filter with All channel AUX controls at minimum level. (AUX SEND) infinite dB/octave attenuation. ST master control and one channel LEVEL control at nominal level. (CH INPUT 1, 2) (ST OUT) Maximum Voltage Gain MIC to CH INSERT OUT 1 kHz, 10k ohms PAN/BAL: MIC to ST OUT, GROUP OUT panned hard left or hard right. MIC to ST OUT, GROUP to ST MIC to REC OUT MIC to AUX SEND (PRE) MIC toAUX SEND (POST) LINE to ST OUT, GROUP OUT LINE to AUX SEND (PRE) LINE to AUX SEND (POST) LINE TO ST OUT (MW10: CH7/8, 9/10) (MW12: CH/10, 11, 12) RETURN to ST OUT RETURN to AUX SEND 2TR IN to ST OUT Crosstalk Total Harmonic Distortion Frequency Response Hum & Noise MW12 0.1 -3 (MIN), 0 (TYP), 1 (MAX) -128 -100 -87 -85 -76 64.23.8 -94 62.9 27.8 -88 -81 UNIT % dB dBu dBu dBu dBu dBu dB dB dB dB dB dB dB dB dB dB dB dB dB dB ST OUT (L, R) AUX SEND GROUP OUT CH INSERT OUT MW10 High Pass Filter CH EQ
(CH INPUT 1-11/12 to ST OUT, GROUP OUT, AUX SEND, C-R OUT, REC OUT)
Analog Input Specifications
Input Imp,Appropriate lmp MIC INPUT GAIN MIC INPUT SENSITIVITY to MAX LINE INPUT GAIN LINE INPUT SENSITIVITY to MAX ST CH MIC INPUT GAIN ST CH LINE INPUT SENSITIVITY to MAX ST CH LINE INPUT GAIN ST CH LINE INPUT SENSITIVITY to MAX ST CH MIC INPUT GAIN ST CHMIC INPUT SENSITIVITY to MAX ST CH LINE INPUT GAIN ST CH LINE INPUT SENSITIVITY to MAX ST CH INPUT CH INSERT IN RETURN (L, R) 2TR IN 3k ohms, 50-600 ohms mic 10k ohms, 600 ohms line 3k ohms,50-600 ohms mic 10k ohms,50-600 ohms line 3k ohms, 50-600 ohms mic 10k ohms, 600 ohms line MW10 -60 ~ -16 -72 ~ +4 -34 ~ +10 -46 ~ +30 -60 ~ -16 -72 ~ -10 -34 ~ +10 -46 ~ +30 -60 ~ -16 -72 ~ -10 -34 ~ +10 -46 ~ +30 -22 ~ +10 -12 ~ +20 -8 ~ +24 -22 ~ +10 -54 ~ +30 -30 ~ +10 -20 ~ +20 -12 ~ +24 -26 ~ +10 -80 ~ -10 -54 ~ +30 -80 ~ -10 -54 ~ +30 -80 ~ +4 MW12 UNIT dBu dBu dBu dBu dBu dBu dBu dBu dBu dBu

10k ohms, 600 ohms line

Analog Output Specifications
Normal Max Normal Max Normal Max Normal Max Normal Max Normal Max Normal Max Input Imp, Appropriate Imp 150 ohms, 10k ohms line (MW10) 75 ohms, 600 ohms line (MW12) 150 ohms, 10k ohms line 150 ohms, 10k ohms line 150 ohms, 10k ohms line 150 ohms, 10k ohms line 600 ohms, 10k ohms line 100 ohms, 40 ohms phone 0 +20 +4 +20 -10 +75 MW10 +4 +20 +4 +20 +4 +20 +24 MW12 UNIT dBu dBu dBu dBu dBu dBu dBu

General Specifications

MW12 80kHz 12dB/Octave 15dB HIGH: 10kHz (shelving) MID: 2.5kHz (peaking) LOW: 100Hz (shelving) +48V PA-10

C-R OUT Rec OUT PHONES

Phantom Power Power Adaptor Power Consumption Dimensions (W x H x D) Net Weight Temperature Range Digital Input/Output Other
322 mm x 108 mm x 416.6 mm 5 kg
251 mm x 65 mm x 290.5 mm 1.8 kg
*All specifications are subject to change without notice. *All trademarks and registered trademarks are property of their respective owners.
Operating temperature: 0 to 40 C, Storage temperature: -20 to 60 C
USB Audio1.1, 44.1/48kHz 16bit, USB B type Included Rack mount Ears
For details please contact:

www.yamahasynth.com

This document is printed on chlorine-free (ECF) paper with soy ink.

LCK-0511

Printed in Japan

Scene 1

Recording Procedure
Laying down tracks small project studios for solo musicians, producers,
Inspiration can come at any time. But it can also leaveif you have to spend too much time fiddling with your equipment. Not so with the MW. With the included Cubase LE software, the MW gives you a simple yet comprehensive system for recording all your musical ideas to computerand recording your moments of inspiration before they have a chance to leave! Plug in a guitar, a microphone, a keyboard, even a CD player. Use the threeband EQ to tweak your sound, and connect your favorite effect device to the send/return jacks for further processing. The familiar mixer layout lets you stay in your comfort zone and work efficiently. Recording to Cubase LE is a breeze, tooespecially with the downloadable low-latency ASIO driver, which lets you use your plug-in software synths and effects in real time. The MW is also ideal for collaborating with others. Just bring it along with your laptop and guitar, and youve got a complete, portable mobile studioready to go anywhere and record with anyone.

Scene 2

Step 1
Capturing backup singers, multi-instrument parts the moment for recording
Music is a succession of magic momentsmade even more magical and exciting when you get several musicians and singers together. The MW lets you capture those moments, mixing down the performance of several backup singers or instrumentalists and recording them directly to a two-channel stereo track in Cubase LE. With the MW and a laptop, the whole world becomes your personal recording studio. Portable, self-contained, flexible, comprehensivethe MW mixers give you virtually everything you need to make great recordings. Since Cubase LE gives you 48 tracks of audio to work with, you can build up songs part-by-part and easily create professional sounding arrangements. Use the MW as a keyboard submixer when you play live, or use it as a utility mixer for events, gatherings and small rehearsals and even record these events direct to stereo on your computer.
Setting up for the first time
After youve installed and launched Cubase LE for the first time, youll need to make a few configuration settingssuch as selecting the audio driver, enabling inputs and outputs within Cubase LE, etc. Once youve done this, the MW can be used for recording every time you open Cubase LE. Step 2
TIP Use your favorite outboard gear
If youre recording vocals, you can insert your favorite outboard compressor or EQ into the signal path before recording, by using the MWs rear-panel INSERT jacks. Guitarists can plug in their stomp boxes to record the exact sound they want.

Getting ready to record

Open a new project in Cubase LE, and set up for recording. Select or create an audio track (stereo or mono), open the Mixer window, and turn Click on (for a metronome guide). Set the start point for recording, too. Everything connected? Youre almost ready Turn Record Enable on, and check the levels while you adjust the Gain and Master Level controls on the MW. Step 3

Scenes

TIP Dig into your mic closet
The MW also has 48V phantom power, so you can use high-quality condenser or ribbon microphones and get pro-quality sound for your vocals and acoustic instruments.

Scene 3

Enjoying total control mixing straight to CD for club music, DJ work,
If youre a DJ and have a standard two-turntables-and-a-microphone setup, the MW can help keep your beats flowing. The MW has enough connectors for bigger live rigs as wellletting you add a couple of synths and a CD player, and still have room for more. The big-brother MW12 is even more capable, handling up to 12 simultaneous inputs. It features a paired bus (Group 1/2) for assigning channels to a separate grouped output. Theres also a PFL (Pre-Fader Listen) switch that lets you conveniently cue up tracksso you can monitor the sound of a source through your headphones before letting your audience hear it. At home, use the MW with Cubase LE to record your personal mixes, then burn them to CDs for your friends and fans. This system is perfect for creating custom remixes, too. With the full audio editing capabilities of Cubase LEincluding automatic tempo matching and stretching of audio partsplus multitrack recording of up to 48 tracks, youve got all you need to record, edit and mix your musical masterpieces.

Recording and playback

Now start recording (from the Transport panel), play or sing the part, and stop when youre finished. Play it back and add other parts to it as needed, building up a complete song part-by-part. Step 4

TIP Plug-in effects

Cubase LE also has a wide variety of plug-in effects including reverbs, delays, distortion, and moreyou can use to enhance or alter the sound of each track as desired.

Mixing your song

Once you have several different partsall on different trackscall up the Mixer window. Use the faders in the Mixer to control the balance of the parts, and use the Pan controls and EQ processing to adjust the sound as needed.
Tip Cut out the Latency problem!
If you require to use the VST instruments with MIDI controller and you need a low latency. No problem! You can download ASIO low latency audio driver at www.yamahasynth.com

Front Panels

Yamaha MW10 and MW12

USB Mixing Studio

Getting the music thats in your head out into the real world doesnt have to be difficult. In fact, with Yamahas new MW10 and MW12 USB Mixing Studio, making great music is easier than ever before. Combined with the powerful Cubase LE audio/MIDI sequencing software, the MW Mixer provides a comprehensive tabletop studio setup for the solo recording musician and for the travelling producer/arranger. High-quality multitrack mixing/recording systems dont get any simpler than this. Along with its versatile mixing functions, the MW features a true plug-and-play USB audio interfacegiving you a fast, no-nonsense way to get quality audio tracks into your computer. With Cubase LE, its also an advanced, all-inone solution that turns any computer into a complete, top-flight recording system.

These mixers accept just about any source you want to plug into them, with a full variety of input connectorsincluding balanced XLR, 1/4 phone jacks and RCA pin jacks. Comprehensive sound shaping is also onboard with pan controls, 3-band EQ and 80 Hz high-pass filters (to cut hum and low-frequency noise) on each channel strip. The MW provides insert patch points for two channels on the MW10, and four on the MW12letting you put external compressors and EQ into the signal path, and process your vocals or guitar as needed.

Mixer Master Section

These versatile mixers are also fully equipped for your external processing and monitoring needs. Two AUX send/return buses let you apply further signal processing on each channelfor example, with your favorite external reverb and delay units, or other effects devices. In addition to the main stereo outputs, the MW features separate headphone, control room and recording outputs as well, giving you plenty of options for a wide range of monitoring and recording applications. And visual monitoring of the output level is made accurate and easy with the bright 12-segment level meters.
Exclusive Features of the MW12 USB Studio
Connect the MW to a USB terminal on your laptop or desktop computer, and youve got an instant, high-quality audio recording studio in-a-box. The MW delivers true plug-and-play USB audio input/output interfacing, and lets you easily mix your audio sources down to two-track stereo for recording to computer. The MW package includes Steinbergs Cubase LEa crossplatform software that provides a complete audio/MIDI recording solution, along with video playback and music notation capabilities. A low-latency ASIO driver is available for free download at our website, giving you optimum performance and letting you use VST plug-in instruments and effects in real time. Cubase LE has over 40 built-in VST instruments and effects, but you can add more as your needs grow. The MW12 has all the USB studio features found on the MW10, but packs even more mixing power, control and flexibility into its compact package. Foremost are the 12 inputs, including six balanced XLR inputs (for microphones), and four stereo line input channels. The MW provides separate inserts for Channels 1 4, letting you route the incoming signals through your Hardware favorite processors before mixing and recording. The MW12 is also rack-mountable and uses long-throw faders instead of knobs for easy level control. The two AUX Sends each have separate knob controls, and the AUX 1 bus can be configured pre- or post-fader, useful for setting up an independent monitor mix. The MW12 also has Master Send and Return controls for maximum control over the AUX buses. Separate Group buses 1 and 2 give you further flexibility in creating sub mixes. The MW12 features a convenient PFL (Pre-Fader Listen) switch that lets you monitor an incoming signal (in your headphones, for example) without having to boost the level of the channel, and has independent Stereo switches on all channels, for sending the signal to both the stereo L/R bus and the computer.

Mixer Input Section

The MW10 gives you a total of 10 inputs, including four ultra-lownoise mic preamps. The MW12 has even more12 inputs, with six mic pre amps. These high-performance balanced inputs also have a phantom power switch, allowing you to take advantage of the superior sonic quality of professional-level condenser microphones.

Rear Panels

Cubase LE
Cubase LE is a full-featured music production software based on the award-winning Cubase SX and SL programs. It gives you up to 48 simultaneous audio tracks and 64 MIDI tracks, plus a variety of VST plug-in software synths and effects, as well as full VSTi compatibility, with support for up to eight VST instruments. Just as the Yamaha MW USB Mixing Studio is your all-in-one solution to mixing and recording tracks to computer, the powerful Cubase LE provides all you need to record, edit, process and mixdown your masterpieces. At the center of Cubase LE is a full-fledged audio/MIDI sequencer, which allows you to record audio (vocals, guitar, etc.) along with MIDI data (from keyboards, synthesizers, etc.) and have everything in perfect sync. Whats more, Cubase LE also includes built-in virtual sound modules, letting you play and record MIDI tracks with software synths. The LM-7 provides drum and percussion kits, while the VB-1 has a variety of bass sounds. And the Universal Sound Module has a comprehensive set of instrument sounds in every category, mapped according to the standard GM format. These VST instruments give you the power to create full arrangements without the need for external tone generators. Cubase LE also has a complete set of builtin virtual effects to process your sound everything from reverb, chorus and delay effects to distortion, rotary speaker, filter and modulationplus many different and unusual variations within. All of the effects are software based, so you can enhance and transform the sound all inside your computer! Software
The editing features of Cubase LE give you further control over your recordings, providing a number of different ways to rearrange your parts and tracks. Use the main Sample Editor Project window to record and do basic work on your tracks (such as cutting, copying and moving sections), and use the other editing windows for more detailed work. The Sample Editor, for example, lets you easily manipulate your audio recordings. For MIDI recordings, there are a variety of optionsthe Key Editor (in piano roll form), the Drum Editor (with convenient event and drum mapping indications), the Score Editor (for notation based editing), and the detailed List Editor (showing all MIDI events). The power and versatility of Cubase LE is truly amazing, when you take a look at all the different projects and applications it can handle. If youre into video production, you can easily use Cubase LE to create complex soundtracks and sound effect beds for your projects. Simply import the video (from your camcorder, for example) into Cubase LE and record narration and music on topand have all your tracks synchronize perfectly with the images. Then creatively enhance your projects with the effects in Cubase LEmaking huge explosive sounds with the help of reverb, or using the Vocoder effect for robot-like voices. Since the MW lets you record your analog sources (microphone, etc.) to computer in digital form, this compact setup is perfect for podcasting applications as well. Produce your own Internet radio programs, create custom remixes, and record your own CDsthe possibilities are endless. Cubase LE is compatible with both the Mac and Windows PC platforms, and since Cubase LE projects are completely upward compatible with the professional level Cubase SX and SL, you can still use your LE songs if and when you decide to upgrade. Cubase LE is the perfect way to enter the world of computerbased recording, giving you all the tools to produce professional level recordingsquickly and easilywhile providing a system that you can expand into the future!

Note: If you want to connect a MIDI keyboard, the optional Yamaha UX16 USB/MIDI interface provides a very simple, inexpensive way to get MIDI data into and out of your computer.

System Requirements

Universal Sound Module
Macintosh Power Mac GMHz 256 MB RAM (512 MB recommended) 1GB of free hard disk space for complete content OS X Version 10.2 or higher CoreAudio compatible audio hardware Windows Pentium III 500 MHz or AMD K7 (P III / Athlon 1 GHz or faster recommended) 256 MB RAM (512 MB recommended) 1GB of free hard disk space for complete content complete content Windows 2000, Windows XP Home and XP Professional Windows MME compatible audio hardware ASIO compatible sound card recommended

Block Diagrams

Yamaha cannot be held responsible for damage caused by improper use or modications to device, or data that is lost or destroyed.
Always turn the power off when the device is not in use. Even when the power switch is in the STANDBY position, electricity is still owing to the device at the minimum level. When you are not using the device for a long time, make sure you unplug the power cord from the wall AC outlet. The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult quali ed Yamaha service personnel about replacing defective components.

SPECIAL NOTICES

This owner's manual is the exclusive copyrights of Yamaha Corporation. The supplied software is the exclusive copyrights of Steinberg Media Technologies GmbH. Use of the supplied software and this manual is governed by the license agreement which the purchaser fully agrees to upon breaking the seal of the software packaging. (Please read carefully the Software Licensing Agreement at the end of this manual before installing the application.) Copying of the supplied software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. The supplied disk is a CD-ROM. Do not attempt to play the disk on an audio CD player. Doing so may result in irreparable damage to your audio CD player. Visit the web address below for the latest information on supplied software and operating system requirements. <http://www.yamahasynth.com/> The screen displays as illustrated in this owners manual are for instructional purposes, and may appear somewhat different from the screens which appear on your computer. The illustrations as shown in this owner's manual are for instructional purposes only, and may appear somewhat different from those on your device. This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others' copyrights. Such copyrighted materials include, without limitation, all computer software, style les, MIDI les, WAVE data, musical scores and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON'T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. This device is capable of using various types/formats of music data by optimizing them to the proper format music data for use with the device in advance. As a result, this device may not play them back precisely as their producers or composers originally intended. Windows is the registered trademarks of Microsoft Corporation. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Steinberg and Cubase are the registered trademarks of Steinberg Media Technologies GmbH. The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies. Specications and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

Specications.. 23 Dimensional Diagrams.. 25 Block Diagram and Level Diagram.. 26
48V Phantom Power (page 16)
A PHANTOM switch supplies +48V phantom power to the mixers microphone inputs, so you can use high-quality phantom-powered condenser microphones for superior recording quality.
SOFTWARE LICENSE AGREEMENT.. 27
Before Turning on the Mixer
Computer System Requirements

Windows

Computer OS CPU Memory Windows-based computer with built-in USB interface Windows XP 750MHz or higher Intel Pentium/Celeron processor More than 96MB (128MB or more recommended)
Be sure that the mixers power switch is in the STANDBY position.
Use only the PA-10 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or re.
Connect the power adaptor to the AC ADAPTOR IN connector (1)on the rear of the mixer, and then turn the fastening ring clockwise (2) to secure the connection.

Macintosh

Computer OS CPU Memory Macintosh computer with built-in USB interface MacOS X 10.3.3 or higher Macintosh G3 processor 300MHz or higher More than 128MB
Cubase LE System Requirements

Windows 1

OS CPU Memory Windows XP 500 MHz or higher Pentium III or AMD K7 (1GHz or more recommended Pentium III/Athlon) More than 256MB (512MB or more recommended) 1GB or more
Plug the power adaptor into a standard household power outlet.
Be sure to unplug the adaptor from the outlet when not using the mixer, or when there are lightning storms in the area. To avoid generating unwanted noise, make sure there is 50 cm or more between the power adaptor and the mixer.

Hard Disk

OS CPU Memory Hard Disk MacOS X 10.3.3 or higher Macintosh G4 processor 450MHz or higher More than 256MB (512MB or more recommended) 1GB or more

Turning the Power On/OFF

Press the mixer's power switch to the ON position. When you are ready to turn the power off, press the power switch to the STANDBY position.
Note that trace current continues to ow while the switch is in the STANDBY position. If you do not plan to use the mixer again for a long while, please be sure to unplug the adaptor from the wall outlet. n To prevent loud pops and noises, turn on the power to your sound gear starting with the sources (instruments, CD players, etc.) and ending with the power amplier or powered speakers. Example: Instruments, microphones, and CD players rst, then the mixer, and nally the power amplier or powered speakers. When turning off the power to the system, reverse the order described above.

Quick Guide

This quick setup and operation guide covers everything from installing the Cubase LE software to using Cubase LE for recording and mixdown. While going through this section you might nd it useful to also refer to the Front and Rear Panels section on page 15, as well as the pdf manual supplied with the Cubase LE software.

Installing Cubase LE

Follow the on-screen instructions to install the Cubase LE software.
The serial number is printed on the sheet located inside the CD-ROM envelope.
n Please install Cubase LE while connected to the internet. Please enter all required items during installation. For Macintosh computers double-click the Cubase LE.pkg icon.
Turn the computer on. Insert the supplied CD-ROM into the computers CD-ROM drive.
Connect the MW10 to the Computer.
Connect the MW10 mixer to your computer using the supplied USB cable.
Connecting Microphones and/or Instruments.
For details on making connections refer to the Input/Output section on page 17, and the Setting up section on page 20.
USB Connection Precautions
Be sure to observe the following points when connecting to the computers USB interface. Failure to observe these rules can result in computer freezes/hang-ups and possibly data loss or corruption. If the computer or MW10 does stop operating properly, turn the power off and then on again, and restart the computer.
Be sure to wake the computer from sleep/suspended/standby mode before making a connection to the computers USB connector. Connect the MW10 to the computer before turning the MW10 power on. Always quit all applications running on the computer before turning the MW10 power on or off, or connecting or disconnecting the USB cable. Wait at least 6 seconds between turning the MW10 on or off, and between connecting or disconnecting the USB cable.
Be sure turn the MW10 PHANTOM switch on when using phantom-powered condenser microphones.
DI USB Cable Although electric guitars and basses can be connected directly to the mixers inputs, the sound is likely to be thin and possibly noisy. For best results with these types of instruments use a DI box (direct box), guitar/bass preamplier, or amp simulator between the instrument and the mixer.
When connecting or disconnecting the USB cable be sure to turn the 2TR IN/USB control all the way down. n Disconnect the USB cable before you use the computer without the MW10.
Balanced Cables and Unbalanced Cables
Two types of cables can be used to connect microphones, electronic instruments, and other audio sources to the mixers inputs, as well as to connect the mixers outputs to a power amplifier or related gear: balanced or unbalanced. Balanced cables are highly resistant to noise, and are the best choice for low-level signals such as the output from microphones, as well as for long cable runs. Unbalanced cables are generally used for short runs from line-level sources such as synthesizers.

Powering Up the System

Turn the power to all gear that is to be connected to the MW10 off/standby (except the computer), and set the ST Master Level Control, Channel LEVEL Controls, and GAIN Controls to their minimum settings.

Cable Guidelines

Microphone cable: Balanced is best. Short line-level cables: Unbalanced cable is fine in a relatively noise-free environment. Long line-level cables: Balanced is best.

Connector Types

XLR Connectors This 3-pin connector is resistant to externally induced noise, and is used primarily for balanced connections. With properly designed receiving circuitry cables with this type of connector can also be used for unbalanced signals. XLR type connectors are the standard for microphone connections as well as most professional audio gear. Phone Connectors Phone connectors are available in mono and stereo versions. Stereo types are also known as "TRS" connectors (Tip-Ring-Sleeve), and are used for stereo headphone jacks, insert jacks, and also to carry balanced signals in many cases. Unbalanced types are used for mono signals guitar cables are a common example. RCA Pin Connectors This type of unbalanced connector is most commonly found on home audio and video equipment. RCA type pin jacks are often color coded: white for left audio channel and red for right audio channel, for example.

GAIN Control

Level Control

ST Master LEVEL Control

To prevent loud pops and noises, turn on the power to your sound gear starting with the sources (instruments, CD players, etc.) and ending with the power amplier or powered speakers.
Example: Instruments, microphones, and CD players first, then the mixer, and finally the power amplifier or powered speakers.
Observe the following precautions when turning on phantom power.
Make sure that the PHANTOM switch is off when phantom power is not needed. Make sure that no equipment other than phantom-powered microphones is connected to the XLR type inputs when turning phantom power on. Applying phantom power to equipment other than phantom-powered microphones can damage the equipment. The exception to this rule is balanced dynamic microphones, which can safely be left connected while phantom power is applied to the XLR inputs. To minimize the possibility of speaker damage, turn phantom power on ONLY while your power amplifier or powered speakers are switched off. Its also a good idea to turn the mixers output controlsthe ST Master LEVEL Control and Channel LEVEL Controlsall the way down when turning phantom power on.
The rst time you connect to the computers USB connector, or change the connection to a different USB port, a driver installation display may appear. If this occurs, wait until the installation is complete before proceeding.

Adjusting Level and Equalization

EQ Adjustment

The MW10 mixers 3-band equalizers with independent HIGH, MID, and LOW bands make it easy to shape the tone of independent channels to achieve the best possible mix.

Level Adjustment

The rst step in adjusting levels is to set the level controls on all instruments and other sources appropriately. Adjust the channel GAIN controls so that the corresponding peak indicators ash briey on the highest peak levels (GAIN controls are not provided on the stereo channels7/8 and 9/10). Raise the ST Master LEVEL Control to the E position. Adjust the Channel LEVEL Controls to create the desired initial balance while monitoring via headphones or monitor speakers. The overall headphone level is adjusted by the C-R/PHONES control.
Use the High-pass Filter for Microphone Input
As the name implies, a "high-pass filter" allows only signals above a certain frequency to pass. Conversely, signals below that "cutoff frequency" are attenuated. When an MW10 high-pass filter is turned on, signals below 80 Hz are attenuated. This can be useful for minimizing low-frequency breath noise from a vocalist, as well as handling noise, or rumble transmitted via the microphone stand. It is generally a good idea to turn the high-pass filter on for microphone channels.

Equalizer Tips

The best advice that can be given regarding equalization while recording is simply to use as little equalization as possible. If you want a little more presence you can turn the HIGH end up a bit. Or you can boost the bass a little if you feel the low end is lacking. During recording its better to use EQ sparingly for compensation only.
GAIN Control PEAK Indicator
ST Master LEVEL Control LEVEL Control C-R/PHONES Control

Recording with Cubase LE

Select [Device Setup] from the [Devices] menu to open the Device Setup window.

Windows:

Select [VST Multitrack] in the [Devices] field on the left side of the window. Select [ASIO Multimedia Driver] in the [ASIO Driver] field on the right side of the window, and click [Apply] or [OK].
This section describes the procedure for recording via the MW10 mixer to the Cubase LE software we installed earlier.
n For details on operation of the Cubase LE software refer to the pdf-format manual provided with the software.

Front & Rear Panels

Channel Control Section
Channels 1 and 2 (Monaural) Channels 3/4 and 5/6 (Stereo) Channels 7/8 (Stereo)
4 Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channels high, mid, and low frequency bands. Setting the knob to the position produces a at frequency response. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band. The following table shows the EQ type, base frequency, and maximum cut/boost for each of the three bands.
Band HIGH MID Type Shelving Peaking Shelving Base Frequency Maximum Cut/Boost 10 kHz 2.5 kHz 100 Hz 15 dB
n The equalizer can be used to boost or cut specic frequency bands, allowing the tone of the sound to be shaped as required by the mix.

5 AUX Controls

Use the AUX control to send the channels signal to the AUX1or AUX2 bus. Turn the knob to the left of the mark to feed the signal to the AUX1 bus, or to the right of the to feed to the AUX2 bus. The volume of the feed increases as you move the knob away from the position. If you set the knob exactly to the position, the mixer will not send the signal to either of the AUX buses. Note that the signal to the AUX1 bus is a pre-fader signal, and is not affected by the channel LEVEL controls. The signal to the AUX2 bus is a post-fader signal, and will always pass through the channel LEVEL controls before moving to the bus. If you are using stereo channels, the signals from the L (odd)and R (even) channels are mixed and sent to the AUX1 andAUX2 buses.

1 GAIN Control

Adjusts the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the level so that the PEAK indicator (2) comes on only at about maximum input level. The 60 to 16 scale indicates the MIC input adjustment level. The 34 to +10 scale indicates the LINE input adjustment level.

2 PEAK Indicator

Detects the peak level of the post-EQ signal, and lights up red when the level reaches 3 dB below the clipping level. For XLR-equipped stereo input channels (3/4 and 5/6), detects both post-EQ and post-mic-amp peak levels, and lights red if either of these levels reaches 3 dB below the clipping level.
n When the level of an input signal exceeds the level that can be handled by the mixers head amp or equalizer, distortion and noise will result. The PEAK indicators are used to visually check the signal level to ensure no overload occurs.
6 PAN Control (CHs 1 and 2) PAN/BAL Control (CHs 3/4 and 5/6) BAL Control (CHs 7/8, 9/10)
The PAN control determines the positioning of the channels signal on the Stereo L and R buses. The BAL control knob sets the balance between left and right channels. Signals into the L input (odd channel) feed to the Stereo L bus; signals into the R input (even channel) feed to the Stereo R bus.

Be sure to leave this switch off ( need phantom power.

) if you do not

8 POWER Indicator
This indicator lights up when the mixers power is ON.
When tuning the switch on ( ), be sure that only condenser mics are connected to the XLR input jacks (CHs: 1 to 5/6). Devices other than condenser mics may be damaged if connected to the phantom power supply. Note, however, that the switch may be left on without problem when connecting to balanced dynamic microphones. To avoid damage to speakers, be sure to turn off ampliers (or powered speakers) before turning this switch on or off. We also recommend that you turn all output controls (ST Master LEVEL Control, etc.) to minimum settings before operating the switch, to avoid risk of loud noises that could cause hearing loss or device damage.

2 RETURN Control

Adjusts the level of the signal sent from the RETURN jacks (L (MONO) and R) to the Stereo bus.
n If you supply a signal to the RETURN L (MONO) jack only, the mixer outputs the identical signal to both the L and R Stereo buses.

Input/Output Section

1 Channel Input Jacks (CHs 1, 2, 3/4, 5/6)

MIC jacks

These are balanced XLR-type input jacks (1:Ground; 2:Hot; 3:Cold).
n The signal output from the INSERT I/O jacks is reverse-phased. This will not be a problem if connecting the jack to an effector. If using the jack to output to an external device, however, please be aware of possible phase conicts with other signals.

LINE jacks

These are balanced phone-type input jacks. You can connect either balanced or unbalanced phone plugs to these jacks.
n Where an input channel provides both a MIC jack and a LINE jack, you may use either one of these jacks but you may not use both at the same time. Please connect to only one of these jacks on each channel.
3 Channel Input Jacks (CHs 7/8, 9/10)
Each of these channel pairs can be used to input a stereo source signal. For each pair, the odd-numbered channel inputs the L signal, and the even-numbered channel inputs the R signal. Each channel offers a choice of two jack types: phone jack and RCA pin jack. All of these jacks are unbalanced.
n Where a channel provides both phone jacks and RCA pin jacks, you may use either one of these jacks but you may not use both at the same time. Please connect to only of these jacks on each channel.
2 INSERT I/O Jacks (CHs 1 and 2)
These are unbalanced phone-type input/output jacks. Each of these jacks is positioned between the equalizer and Channel LEVEL Control of the corresponding input channel. These jacks can be used to independently connect these channels to devices such as graphic equalizers, compressors, and noise lters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation.
n Connection to an INSERT I/O jack requires a special separately-sold insertion cable such as illustrated below. To the input jack of the external processor

4 2TR IN Jacks

These are unbalanced RCA-pin input jacks. Use these jacks when you want to connect a stereo sound source (CD, DAT, etc.) directly to the mixer for monitoring.
n You can adjust the signal level using the 2TR IN/USB control in the Master Control section. When a signal is being received both via the 2TR IN connectors and the USB interface, the received signals are mixed.

5 REC OUT (L, R) Jacks

To the INSERT I/O jack
Tip: Out Tip: In Sleeve Ring Tip
These are unbalanced RCA-pin output jacks. These jacks output the mixed signal whose level is controlled by the ST Master LEVEL Control. You use these jacks, for example, to connect to an external recorder.
n These connectors output the same signal that sent to the computer via the USB interface.
To the output jack of the external processor

6 ST OUT (L, R) Jacks

These are impedance-balanced phone-type output jacks. These jacks output the mixed signal whose level is controlled by the ST Master LEVEL Control. You use these jacks, for example, to connect to the power amplier driving your main speakers.
9 RETURN L (MONO), R Jacks
These are unbalanced phone-type input jacks. The signal received by these jacks is sent to the Stereo bus. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.).
n These jacks can also be used as an auxiliary stereo input. If you connect to the L (MONO) jack only, the mixer will recognize the signal as monaural and will propagate the identical signal on both L and R jacks.

7 C-R OUT Jacks

These are impedance-balanced phone-type output jacks. These jacks output the mixed signal whose level is controlled by the C-R/PHONES LEVEL Control. You use these jacks, for example, to connect to the powered speaker.

) PHONES Jack

Connector for headphones. This is a stereo phone-type output jack.
n When the 2TR IN/USB switch is set to TO C-R, the signal input via the 2TR IN/USB connector and the stereo bus signal are mixed and output via the C-R OUT/PHONES connector.

Setup Examples

Sound Source (CD, MD, DAT, Cassette, Video, etc.)
Synthesizer Rhythm Machine
Sound Source (CD, MD, DAT, Cassette, Video, etc.) Master Recorder (MD, CD-R, DAT, etc.)

Powered Monitor Speakers

Microphone

Headphones

Guitar Effector

USB Cable

Troubleshooting
The MW10 mixer wont turn on.
Is the supplied power adaptor properly plugged into both the mixer and an appropriate AC wall outlet?
The recorded sound is too low in level.
Is the computers output level setting too low?
We recommend that you set the computer output to the maximum level.
The system doesnt work properly.
Are the USB cable and all necessary audio cables properly connected? Are you using a USB hub?
USB hubs can interfere with proper operation, so try connecting the MW10 directly to a USB port on the computer. If the computer has multiple USB ports, try a different USB port.
Select [System Preferences ] from the Apple menu and then select Sound to open the Sound dialog window. Click the Output tab and set the volume slider at the bottom of the window to its maximum level.
Are you using other USB devices at the same time?
If so, try removing the other device(s) and connecting only the Yamaha USB device.

No sound.

Are your speaker cables connected properly, or are they shorted? Are the volume controls of your sources, audio devices, applications software, computer operating system, etc., set at appropriate levels? Is the output of your computer operating system muted? Do you have several applications running at the same time?
Be sure to quit all applications you are not using.
Have you connected or disconnected the USB cable while Cubase LE is running?
Doing so can sometimes cause the Windows output level to be reset to its default level. Check and raise the output level if necessary.
The sound is intermittent or distorted.
Is the PEAK indicator flashing red?
You might have to lower GAIN control or channel LEVEL control levels to avoid distortion.
Is the sound output of your computer operating system assigned properly? Windows:
Does the computer you are using meet the listed system requirements?
Refer to System Requirements on page 6 for details.
Are any other applications, device drivers, or USB devices (scanners, printers, etc.) running at the same time?
From the [Start] menu click [Control Panel], then double-click Sounds and Audio Devices icon to open the Sounds and Audio Devices Properties dialog window. Click the Audio tab. Set Sound playback: Default device and Sound recording: Default device to USB Audio CODEC. Click [OK].

There is a delay when playing a software synthesizer via a MIDI keyboard (latency).
Check the URL listed below for the latest information. http://www.yamahasynth.com/

Appendix

Specications
Electrical Characteristics
Conditions Total Harmonic Distortion
(MIC to ST OUT) (THD+N) 20 Hz - 20 kHz @ +14 dBu 10k ohms, GAIN controls at minimum level, all level controls at nominal level 20 Hz-20 kHz, nominal output level @ 1 kHz, 10 k ohms, GAIN controls at minimum level (CH INPUT 1-5/6), all level controls at nominal level Equivalent Input Noise (CH INPUT 1-2 MIC)

Frequency Response

(CH INPUT 1-9/10, RETURN, 2TR IN to ST OUT, AUX SEND, C-R OUT, REC OUT)
87 (91 dB S/N) 85 (89 dB S/N) 64 (68 dB S/N) 64.23.70
dBu dBu dBu dBu dBu dB dB dB dB dB dB dB dB dB dB dB dB dB

Hum & Noise

Rs=150 ohms, Gain=Maximum (CH INPUT 1-2), Hum & Noise are measured with a -6 dB/octave lter @12.7 kHz; equivalent to a 20 kHz lter with innite dB/octave attenuation.
Residual Output Noise (10 k ohms (ST OUT)) ST master control at nominal level and all channel LEVEL controls at minimum level. (ST OUT) All channel AUX controls at minimum level. (AUX SEND) ST master control and one channel LEVEL control at nominal level. (CH INPUT 1, 2) (ST OUT) CH INPUT 1, 2 MIC to CH INSERT OUT, Rs=150 ohms, GAIN controls at maximum level CH INPUT 1-5/6 MIC to ST OUT, Rs=150 ohms, GAIN controls at maximum level CH INPUT 1-5/6 MIC to REC OUT, Rs=150 ohms, GAIN controls at maximum level CH INPUT 1, 2 MIC to AUX SEND, Rs=150 ohms, GAIN controls at maximum level, PRE

Maximum Voltage Gain

1 kHz, 10k ohms PAN/BAL: panned hard left or hard right.
CH INPUT 1, 2 MIC to AUX SEND, Rs=150 ohms, GAIN controls at maximum level, POST CH INPUT 3/4-5/6 LINE to ST OUT, Rs=150 ohms, GAIN controls at maximum level CH INPUT 3/4-5/6 LINE to AUX SEND, Rs=150 ohms, GAIN controls at maximum level, PRE CH INPUT 3/4-5/6 LINE to AUX SEND, Rs=150 ohms, GAIN controls at maximum level, POST CH INPUT 7/8-9/10 to ST OUT, Rs=150 ohms, GAIN controls at maximum level RETURN to ST OUT, Rs=150 ohms 2TR IN to ST OUT, Rs=600 ohms Adjacent inputs input to output

Crosstalk (1 kHz)

Where 0 dBu = 0.775 Vrms Output impedance of signal generator: 150 ohms

CH INSERT IN

10 k ohms

600 ohms line

-12 dBu (195 mV) 8 dBu (308 mV) 22 dBV (79.4 mV)
0 dBu (0.775 V) +4 dBu (1.23 V) 10 dBV (316 mV)
+20 dBu (7.75 V) +24 dBu (12.3 V) +10 dBV (3.16 V)
RETURN (L, R) 2TR IN (L, R)

10 k ohms 10 k ohms

600 ohms line 600 ohms line
Where 0 dBu=0.775 Vrms and 0 dBV=1 Vrms
* Input sensitivity: the lowest level that will produce an output of +4 dBu (1.23V) or the nominal output level when the unit is set to maximum gain. (All level controls are maximum position.)
Analog Output Specications
Output Connectors Output Impedance Appropriate Impedance

10 k ohms line

+20 dBu (7.75 V)
Phone jack (TRS) (impedance balanced [T: hot; R: cold; S: ground]) Phone jack (TRS) (impedance balanced [T: hot; R: cold; S: ground]) Phone jack (TRS) (unbalanced [T: out; R: in; S: ground]) RCA pin jack Phone jack (TRS) (impedance balanced [T: hot; R: cold; S: ground]) Stereo phone jack

ST OUT (L, R)

150 ohms

+4 dBu (1.23 V)

AUX SEND (1, 2)
CH INSERT OUT (CH 1, 2) REC OUT (L, R) C-R OUT (L, R) PHONES

0 dBu (0.775 V)

600 ohms

10 dBV (316 mV)

+10 dBV (3.16 V)

100 ohms

40 ohms phone
Digital Input/Output Specications

Connector

Format

USB Audio 1.1

Data Length

16 bit

Connector Specication

USB B type

Dimensional Diagrams

Unit: mm

Block Diagram and Level Diagram
SOFTWARE LICENSE AGREEMENT
ATTENTION SOFTWARE LICENSE AGREEMENT
PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (AGREEMENT) CAREFULLY BEFORE USING THIS SOFTWARE. YOU ARE ONLY PERMITTED TO USE THIS SOFTWARE PURSUANT TO THE TERMS AND CONDITIONS OF THIS AGREEMENT. THIS AGREEMENT IS BETWEEN YOU (AS AN INDIVIDUAL OR LEGAL ENTITY) AND YAMAHA CORPORATION (YAMAHA). BY BREAKING THE SEAL OF THIS PACKAGE YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF YOU DO NOT AGREE WITH THE TERMS, DO NOT INSTALL, COPY, OR OTHERWISE USE THIS SOFTWARE.
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Third party software and data (THIRD PARTY SOFTWARE) may be attached to the SOFTWARE. If, in the written materials or the electronic data accompanying the Software, Yamaha identies any software and data as THIRD PARTY SOFTWARE, you acknowledge and agree that you must abide by the provisions of any Agreement provided with the THIRD PARTY SOFTWARE and that the party providing the THIRD PARTY SOFTWARE is responsible for any warranty or liability related to or arising from the THIRD PARTY SOFTWARE. Yamaha is not responsible in any way for the THIRD PARTY SOFTWARE or your use thereof. Yamaha provides no express warranties as to the THIRD PARTY SOFTWARE. IN ADDITION, YAMAHA EXPRESSLY DISCLAIMS ALL IMPLIED WARRANTIES, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, as to the THIRD PARTY SOFTWARE. Yamaha shall not provide you with any service or maintenance as to the THIRD PARTY SOFTWARE. Yamaha is not liable to you or any other person for any damages, including, without limitation, any direct, indirect, incidental or consequential damages, expenses, lost prots, lost data or other damages arising out of the use, misuse or inability to use the THIRD PARTY SOFTWARE.