FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/ or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line lter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

(class B)

* This applies only to the MG82CX distributed by YAMAHA CORPORATION OF AMERICA, not the MG102C.
MG82CX/MG102C Owners Manual

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, re or other hazards. These precautions include, but are not limited to, the following:

Power supply/Power cord

Only use the voltage specied as correct for the device. The required voltage is printed on the name plate of the device. Use only the specied AC power adaptor (PA-10) or an equivalent recommended by Yamaha). If you intend to use the device in an area other than in the one you purchased, the included power cord may not be compatible. Please check with your Yamaha dealer. Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Water warning

Do not expose the device to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. Never insert or remove an electric plug with wet hands.
If you notice any abnormality
If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the device, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel. If this device or the AC power adaptor should be dropped or damaged, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel.

Do not open

Do not open the device or attempt to disassemble the internal parts or modify them in any way. The device contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualied Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following:
Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. When removing the electric plug from the device or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. To avoid generating unwanted noise, make sure there is 50cm or more between the AC power adaptor and the device. Do not cover or wrap the AC power adaptor with a cloth or blanket. Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Doing so may result in noise, both in the device itself and in the TV or radio next to it.

Specications and descriptions in this owners 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.

Introduction

Thank you for your purchase of the YAMAHA MG82CX/MG102C mixing console. The MG82CX/ MG102C feature input channels suitable for a wide range of usage environments. And the MG82CX includes high-quality built-in digital effects that can provide some very serious sound. The mixer combines ease of operation with support for multiple usage environments. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of this mixers superlative features and enjoy trouble-free operation for years to come.

Contents

Introduction.. 5
Contents... 5 Before Turning on the Mixer.. 5 Turning the Power On.. 5
Before Turning on the Mixer
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.

Mixer Basics

Quick Guide.. 6 Making the Most of Your Mixer. 7
Balanced, UnbalancedWhats the Difference?. 7 Signal Levels and the Decibel.. 7 To EQ or Not to EQ.. 8 Ambience... 9 The Modulation Effects:.. 9 Phasing, Chorus, and Flanging.. 9 Compression... 9
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.)

Reference

Front & Rear Panels.. 10
Channel Control Section.. 10 Master Control Section... 11 DIGITAL EFFECT.. 13 Rear Input/Output Section. 13
Plug the power adaptor into a standard household power outlet.
Be sure to unplug the adaptor from the outlet when

Setup... 14

Jack List... 14
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.

Troubleshooting.. 15

Mounting to a Microphone Stand. 15

Specifications.. 55

Turning the Power On
Press the mixers power switch to the ON position. When you are ready to turn the power off, press the power switch to the STANDBY position.

Accessories

Owners Manual AC power adaptor (PA-10)* * May not be included depending on your particular area. Please check with your Yamaha dealer.

Making the Most of Your Mixer
Youve got yourself a mixer and now youre ready to use it. Just plug everything in, twiddle the controls, and away you go right? Well, if youve done this before you wont have any problems, but if this is the first time youve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes.
Balanced, UnbalancedWhats the Difference?
In a word: noise. The whole point of balanced lines is noise rejection, and its something theyre very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation were constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. Thats why balanced lines are the best choice for long cable runs. If your studio is basically confined to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are fineunless youre surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixers high-gain head amplifier. Balanced noise cancellation

To summarize

Microphones: Short line-level runs:

Noise-free signal

Use balanced lines. Unbalanced lines are fine if youre in a relatively noise-free environment. The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best.
Hot (+) Cold () Phase inversion Ground
Phase inversion Noise cancelled Receiving device

Long line-level runs:

Source
Signal Levels and the Decibel
Most professional mixers, Lets take a look at one of the most commonly used units in power amplifiers, and other audio: the decibel (dB). If the smallest sound that can be heard types of equipment have + 20 dBu by the human ear is given an arbitrary value of 1, then the inputs and outputs with a loudest sound that can be heard is approximately 1,000,000 nominal level of +4 dBu. (one million) times louder. Thats too many digits to deal with 0.775 V The inputs and outputs on 0 dBu for practical calculations, and so the more appropriate decibel (dB) unit was created for sound-related home-use audio gear usually have a nominal level measurements. In this system the difference between the -20 dBu of 10 dBu. softest and loudest sounds that can be heard is 120 dB. This is a non-linear scale, and a difference of 3 dB actually results Microphone signal levels in a doubling or halving of the loudness. vary over a wide range -40 dBu depending on the type of You might encounter a number of different varieties of the dB: microphone and the source. dBu, dBV, dBM and others, but the dBu is the basic decibel Average speech is about unit. In the case of dBu, 0 dBu is specified as a signal level of -60 dBu 30 dBu, but the twittering 0.775 volts. For example, if a microphones output level is 40 of a bird might be lower than dBu (0.00775 V), then to raise that level to 0 dBu (0.775 V) in 50 dBu while a solid bass drum beat might produce a the mixers preamp stage requires that the signal be amplified level as high as 0 dBu. by 100 times. A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output levels as closely as possible. In most cases the nominal level for a mixers input and outputs is marked on the panel or listed in the owners manual.

Boost with Caution

If youre trying to create special or unusual effects, go ahead and boost away as much as you like. But if youre just trying to achieve a goodsounding 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 dont 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.
MID Boost LOW Boost MID Flat HIGH Boost

Signal Level (dB)

LOW Flat

HIGH Flat

LOW Cut MID Cut Frequency (Hz)

HIGH Cut

Ambience
Your mixes can be further refined by adding ambience effects such as reverb or delay. The MGs internal effects can be used to add reverb or delay to individual channels in the same way as external effects processors. (Refer to page 13).

Reverb and Delay Time

The optimum reverb time for a piece of music will depend on the musics tempo 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. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tunes tempo.
For chorus and flanging the signal is delayed by several milliseconds, with the delay time modulated by an LFO, and recombined with the direct signal. In addition to the phasing effect described above, the delay modulation causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback usedflanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure. Chorus is most often used to thicken the sound of an instrument, while flanging is usually used as an outright special effect to produce otherworldly sonic swoops.

Compression

One form of compression known as limiting can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. A common example of the use of compression is to tame a vocal that has a wide dynamic range in order to tighten up the mix. With the right amount of compression youll be able to clearly hear whispered passages while passionate shouts are still well balanced in the mix. Compression can also be valuable on bass guitar. Too much compression can be a cause of feedback, however, so use it sparingly. Most compressors require several critical parameters to be set properly to achieve the desired sound. The MG compressor makes achieving great sound much easier: all you need to do is set a single compression control and all of the pertinent parameters are automatically adjusted for you. OUTPUT

Reverb Tone

Different reverb programs will have different reverb tone due to differences in the reverb time of the high or low frequencies. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. Its 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

Its 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 the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a special effect.

The Modulation Effects:

Phasing, Chorus, and Flanging
All of these effects work on basically the same principle: a portion of the audio signal is timeshifted and then mixed back with the direct signal. The amount of time shift is controlled, or modulated, by an LFO (Low-frequency Oscillator). For phasing effects the shift is very small. The phase difference between the modulated and direct signals causes cancellation at some frequencies and reinforces the signal at others and this causes the shimmering sound we hear.

(Min) (Max)

On channels where this knob provides both PAN and BAL control (channels 3/4 and 5/6), the knob operates as a PAN control when input is received via the MIC jack or L (MONO) input only, and as a BAL control when input is received via both L and R inputs.
Select where you want to send the signal using the 2TR IN switch, and adjust the signal level using the 2TR IN control in the Master Control section.

2 REC OUT (L, R) Jacks

These RCA pin jacks can be connected to an external recorder such as an MD recorder in order to record the same signal that is being output via the STEREO OUT jacks.

C Level Control

Adjusts the level of the channel signal. Use these knobs to adjust the balance between the various channels.
The mixers STEREO Master control has no affect on the signal output via these jacks. Be sure to make appropriate level adjustments at the recording device.
Set the controls for unused channels all the way down to minimize noise.
3 RETURN L (MONO), R Jacks
These are unbalanced phone-jack type line inputs. The signal received by these jacks is sent to the STEREO L/R buses. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.).

0 POWER Indicator

This indicator lights when the mixers power is ON.

A Level Meter

This LED meter displays the level of the signal sent to the MONITOR jacks and the PHONES jack. The 0 segment corresponds to the nominal output level. The PEAK segment lights red when the output reaches the clipping level.
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 send the identical signal to both the L and R jacks.

4 SEND EFFECT (AUX) Jack

This is an impedance balanced* phone-jack type output that outputs the signal from the EFFECT (AUX) bus. You can use this jack, for example, to connect to an external effect unit.

B 2TR IN

2TR IN Switch
If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R buses. If this switch is set to TO MONITOR ( ), the signals input via the 2TR IN jacks are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. The MONITOR MIX feature becomes available when it is set to TO MONITOR ( ). *
: When overdubbing, you can adjust the levels of the monitor playback signal and the signal being recorded separately.
5 STEREO OUT (L, R) Jacks
These are impedance balanced* phone-jack type outputs that output the signals adjusted by the STEREO Master control. You can use these jacks, for example, to connect to the power amplier driving your main speakers.

6 MONITOR (L, R) Jacks

These are impedance balanced* phone-jack type outputs that output the signals adjusted by the MONITOR/PHONES control. Connect these jacks to your monitor system.
2TR IN Playback signal Recording signal

MONITOR MIX Signal Flow

2TR IN Control MONITOR/PHONES Controls STEREO buses STEREO Master Control REC OUT MONITOR/ PHONES jacks

7 PHONES Jack

Connect a pair of headphones to this stereo phone jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks.

8 PHANTOM +48 V Switch

This switch toggles phantom power on and off. When the switch is on the mixer supplies +48V phantom power to all channels that have XLR mic input jacks (CHs 15/6). Turn this switch on when using one or more phantom-powered condenser microphones.

2TR IN control

Adjusts the level of the signal sent from the 2TR IN jacks to the STEREO L/R buses.

C MONITOR/PHONES Control

Controls the level of the signal output to the PHONES jack and the MONITOR jacks.
When this switch is on the mixer supplies DC +48 V power to pins 2 and 3 of all XLR-type MIC INPUT jacks.
Be sure to leave this switch off (

D STEREO Master Control

Adjusts the signal level sent to the STEREO OUT jacks.

) if you do

not need phantom power. 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 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 (STEREO Master control, etc.) to their minimum settings before operating the switch to avoid the risk of loud noises that could cause hearing loss or device damage.
* Impedance Balanced Since the hot and cold terminals of impedance balanced output jacks have the same impedance, these outputs are less affected by induced noise.

9 RETURN Control

Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus.

If you supply a signal to the RETURN L (MONO) jack only, the mixer sends the same signal to both the L and R Stereo buses.

DIGITAL EFFECT

*Only the MG82CX has digital effects.

1FOOT SWITCH Jack

A YAMAHA FC5 foot switch (sold separately) can be connected to this jack and used to toggle the digital effects ON and OFF.

2 PROGRAM Dial

Selects one of the 16 internal effects. See page 18 for details about the internal effects.

3 PARAMETER Control

Adjusts the parameter (depth, speed, etc.) for the selected effect. The last value used with each effect type is saved.
When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly selected effect (regardless of the current position of the PARAMETER Control knob). These parameter values are reset when the power is turned off.

4 ON Switch

Switches the internal effect on or off. The internal effect is applied only if this switch is turned on. The switch lights orange when on. An optional YAMAHA FC5 foot switch (sold separately) can be used to toggle the digital effects ON and OFF.
The ON switch lights and the internal effect unit is active by default when the power is initially turned on.

5 EFFECT RTN Control

Adjusts the signal level sent from the internal digital effect unit to the STEREO buses.
Rear Input/Output Section

1POWER Switch

Use this switch to turn the mixers power ON or to STANDBY mode.
Note that a small current continues to ow while the switch is in the STANDBY position. If you do not plan to use the mixer for a while, be sure to unplug the AC adaptor from the wall outlet.
2 AC ADAPTOR IN Connector
ConnectConnect the supplied PA-10 power adaptor to this connector (see page 5).
Use only the PA-10 adaptor included with this mixer. Use of a different adaptor may result in re or electric shock.

Guitar Powered Speakers

Recorder Bass

DI Microphone

CD Player
Effect Processor (exciter) Synthesizer
Foot Switch (YAMAHA FC5) Effect Processor
Headphones Powered Monitor

Jack List

Input and Output Jacks MIC INPUT Polarities Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Congurations

OUTPUT

LINE INPUT(CHs 1, 2) STEREO OUT, MONITOR OUT, EFFECT (AUX)* INSERT
Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Tip: Hot Sleeve: Ground Sleeve Sleeve

PHONES

RETURN LINE INPUT (CHs 3/4 to 7/8 (CHs 3/4 to 9/10))
* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.

Troubleshooting

Power doesnt come on. Is the supplied power adaptor properly plugged into an appropriate AC wall outlet? Is the supplied power adaptor properly plugged into the mixer? No sound.
Are microphones, external devices, and speakers connected correctly? Are the channel GAIN controls, LEVEL controls, STEREO Master control set to appropriate levels? Is the MONITOR switch set properly? Are your speaker cables connected properly, or are they shorted? If the above checks do not identify the problem, call Yamaha for service. (Refer to the page 59 for a list of service centers.) Are the channel GAIN controls, LEVEL controls, STEREO Master control set to appropriate levels? Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA pin jacks on one channel? Please connect to only one of these jacks on each channel. Is the input signal from the connected device set to an appropriate level? Are you applying the effects at an appropriate level? Are microphones connected to the MIC input jacks on channels 1 to 5/6? If you are using condenser microphones, is the PHANTOM +48 V switch turned ON? Check that the EFFECT control on each channel is correctly adjusted. Be sure that the internal effect units ON switch is turned ON. Be sure that the EFFECT PARAMETER control and EFFECT RTN control are correctly adjusted. Be sure that the switches are ON. Adjust the equalizers (HIGH, MID and LOW) on each channel. Connect a powered speaker to the EFFECT (AUX) jack*. Then adjust the output signal by using the EFFECT (AUX) controls* on each channel.
Sound is faint, distorted, or noisy.
No effect is applied. (If you are using MG82CX) I want spoken words to be heard more clearly.
I want to output a monitor signal through speakers.
* The MG82CX feature is described rst, followed by the MG102C feature in brackets: MG82CX (MG102C).
Mounting to a Microphone Stand
When using the mixer on a microphone stand, be
sure to set the stand on a level and stable surface. Do not set up the stand in locations subject to vibrations or wind. Note that mixer may be damaged if the stand should fall over. Attach the connection cables carefully so that the cables will not catch on the equipment and cause it to fall. For example: arrange the cables so that they run parallel with the microphone pole down to the base of the stand. Leave ample free space around the stand.

Digital Effect Program List
No Program REVERB HALL 1 REVERB HALL 2 REVERB ROOM 1 REVERB ROOM 2 REVERB STAGE 1 REVERB STAGE 2 REVERB PLATE DRUM AMBIENCE KARAOKE ECHO VOCAL ECHO CHORUS 1 CHORUS 2 FLANGER Parameter REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME DELAY TIME DELAY TIME LFO Frequency LFO Frequency LFO Frequency Description Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Reverb simulating a large stage. Simulation of a metal-plate reverb unit, producing a more hard-edged sound. A short reverb that is ideal for use with kick drum. Echo designed for karaoke (sing-along) applications. Echo suitable for vocals. Creates a thick sound by modulating the delay time. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. A sweeping pitched effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Phase modulation produces a cyclical phasing effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. A wah-wah effect with cyclical lter modulation. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Adds a sharp-edged distortion to the sound.

PHASER

LFO Frequency

AUTO WAH DISTORTION

LFO Frequency DRIVE
* LFO stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape.

Dimensional Diagrams

256.6 62.2 55.2 2

Unit:mm

Specifications

EFFECT/AUX STEREO L

RE PAN

[0dBu] [0dBu] [0dBu]

[6dBu] [0dBu]

[0dBu] 3-Stage EQ BA

[+4dBu]
+48V PEAK RE CH LEVEL [6dBu]
[60 to 16dBu] MID TH+GAIN SUM L

[6dBu]

HPF BA STEREO STEREO OUT

CH INPUT

LOW HIGH

GAIN Trim

(CH1 to 2) [34 to +10dBu]

SPAIN/PORTUGAL

Yamaha-Hazen Msica, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888

SINGAPORE

Yamaha Music Asia Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 747-4374

ARGENTINA

Yamaha Music Latin America, S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021

SWEDEN

Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-Gteborg, Sweden Tel: 34 00

TAIWAN

Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688
PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanizacin Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panam, Panam Tel: +507-269-5311

DENMARK

YS Copenhagen Liaison Ofce Generatorvej 6A DK-2730 Herlev, Denmark Tel: 49 00

THAILAND

Siam Music Yamaha Co., Ltd. 891/1 Siam Motors Building, 15-16 oor Rama 1 road, Wangmai, Pathumwan Bangkok 10330, Thailand Tel: 02-215-2626

NORWAY

Norsk lial av Yamaha Scandinavia AB Grini Nringspark 1 N-1345 sters, Norway Tel: 77 70

EUROPE

THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700

OTHER ASIAN COUNTRIES

Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2317

OTHER EUROPEAN COUNTRIES

Yamaha Music Central Europe GmbH Siemensstrae 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030

GERMANY

Yamaha Music Central Europe GmbH Siemensstrae 22-34, 25462 Rellingen, Germany Tel: 04101-3030

OCEANIA AFRICA

Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313

AUSTRALIA

Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zrich, Switzerland Tel: 01-383 3990
COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN

AUSTRIA

Yamaha Music Central Europe GmbH, Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900

MIDDLE EAST

TURKEY/CYPRUS
CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA
Yamaha Music Central Europe GmbH, Branch Austria, CEE Department Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025

OTHER COUNTRIES

Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: +971-4-881-5868

HEAD OFFICE

Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441
Yamaha Pro Audio global web site: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2006 Yamaha Corporation WH63250 608POAP3.3-01A0 Printed in China