MIXING CONSOLE

Owners Manual

Keep This Manual For Future Reference.

Precautions

1. Avoid excessive heat, humidity, dust and vibration Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity such as near radiators, stoves, etc. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage. 2. Ventilation The unit has ventilation slots on the top, rear and bottom panels. Do not block these vents. 3. Avoid physical shocks, liquid and small metal objects Strong physical shocks to the unit can cause damage. Handle it with care. Do not place a container with liquid or small metal objects on top of this unit. Liquid or metal objects inside this unit are a re and electrical shock hazard. 4. Do not open the case or attempt repairs or modications yourself This product contains no user-serviceable parts. Refer all maintenance to qualied Yamaha service personnel. Opening the case and/or tampering with the internal circuitry voids the warranty. 5. Always power off before making connections Always turn the power OFF before connecting or disconnecting cables. This is important to prevent damage to the unit itself as well as other connected equipment. 6. Handle cables carefully Always plug and unplug cables including the AC power cord by gripping the connector, not the cord. 7. Clean with a soft dry cloth Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth. 8. Always use the correct power supply Make sure that the power supply voltage specied on the rear panel matches your local AC mains supply. Also make sure that the AC mains supply can deliver more than enough current to handle all equipment used in your system.

Contents

Introduction..1

Features...1

Front Panel..2
Monaural input channels..2 Stereo input channels..4

Master Section..6

Variable/Fix select section.6 Mix section...6 ST (Stereo) section..9 AUX RETURN section..10 MATRIX section..11 C-R MONI (Control room monitor) section PHONES (headphones) section.12 TAPE IN section..13 TALKBACK section..14 METER SELECT section.15 Meter bridge..15
Rear Panel..16 GA Diversity Function.19
What is GA Diversity?..19 Setting the GA Diversity function.19

Specifications..20

General specifications..20 Input specifications..21 Output specifications...21 Dimensions..22 Block and Level diagram.23
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT: The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW BLUE BROWN : EARTH : NEUTRAL : LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. * This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.) LTD.
MC32/12, MC24/12Owners Manual

Introduction

Thank you for choosing the Yamaha MC32/12 or MC24/12 mixing console. Please read this manual thoroughly to take best advantage of the console and extend its useful life.

Notes:

This manual has been written on the assumption that you already understand the basic operation and technical terminology of mixing consoles. Descriptions of MC24/12 specications appear in brackets ({}) if they differ from the MC32/12.

Features

The MC32/12 provides 28 monaural and 2 stereo input modules {the MC24/12 provides 20 monaural and 2 stereo input modules}. The output channels comprise stereo outputs, 10 mix outputs, and two matrix outputs, and support a wide range of applications, from SR (sound reinforcement) to facility acoustics. Each monaural input channel offers a 26 dB pad, HPF, phase switch, 4-band EQ (HI-MID and LOMID frequencies are variable), and a 100 mmlong full-stroke fader. Also, phantom power can be turned on and off for every group of four inputs. Four stereo AUX returns and TAPE IN jacks are provided as standard. The master section of the console is located in the center area of the unit, facilitating operation. The master section provides output channels for MIX buses 110, with EQs and 100 mm-long faders. Each input channel and four stereo AUX returns include a PFL switch, and stereo bus, MIX buses 110, and Matrix 12 has an AFL switch, enabling you to monitor the input/output sources quickly. Using the GA Diversity function enables you to set MIX buses 14 to Variable mode or Fix mode individually. In Variable mode, you can change the level of the signals sent out from the input channels. This routing can be used as a conventional AUX bus. In Fix mode, the level of the signals sent out from the input channels is xed. This routing can be used as a conventional group bus. In this way, you can congure the bus for a specic purpose. The console has two independent matrixes. You can mix MIX buses 14 and the stereo bus individually at the levels you desire and output them from the MATRIX OUT 12 jacks. This routing can be used as a mix for the foldback or for individual speakers and ampliers. The INSERT I/O jacks are provided for all monaural input channels, the stereo bus, and MIX buses 14. You can insert an external effect processor, if necessary. Talkback signals can be sent to any of MIX buses 14, MIX buses 510, and the stereo bus. C-R monitor output enables you to select PFL/ AFL or TAPE IN as a monitoring source. The consoles sturdy nish and rugged design assure its durability even under severe conditions and rough on-site usage.

Front Panel

+26dB 34 60

Monaural input channels

The MC32/12 {MC24/12} has 28 {20} monaural input channels. They are located on both sides of the master section and feature the same specications.

PEAK HIGH

A Pad switch

+15 8k

HI-MID
This switch is used to attenuate input signals by 26 dB. Press down the switch to turn the pad on.

LO-MID

B GAIN control
This control knob is used to adjust input sensitivity. The adjustable range is 16 dB to 60 dB when the pad switch 1 is turned off, and +10 dB to 34 dB when the pad switch is turned on.

C (Phase) switch

This switch reverses the phase of input signals. Press down this switch to reverse the phase.

D High pass lter switch

This high pass lter is used to cut the frequency range below 80 Hz with a slope of 12 dB/ oct. Press down the switch to turn the high pass lter on.

E PEAK indicator

This indicator lights up when the level of signals that pass the EQ reaches 3 dB below the clipping level. This 4-band equalizer provides 15 dB of cut and boost over each range, with the center frequencies and types shown in the following table. The frequencies for HI-MID and LOMID are variable.
Band Center frequencies 10 kHz 400 Hz8 kHz 80 Hz1.6 kHz 100 Hz Type shelving peaking (parametric) peaking (parametric) shelving
F EQ controls (HIGH/HI-MID/LO-MID/LOW)

HIGH HI-MID LO-MID LOW

G EQ switch
This switch is used to turn equalization on and off. Press down the switch to turn equalization on.

ON PFL

H M1M4 mix level controls
These controls are used to route the post fader signals from the input channel to MIX buses 14. Note: When you press down the M1M4 switches to the FIX position in the Variable/ Fix select section (see page 6), the output level of the signals routed to the MIX buses will be fixed and the corresponding M1M4 mix level controls will be disabled.

I ON switches

These switches are used to turn on and off the signals routed from the input channel to MIX buses 14. Note: When these switches are set to off, no signals will be sent from the input channel to the corresponding MIX buses regardless of the setting of the switches in the Variable/Fix select section (see page 6).
J M5M10 mix level controls
These controls route the input channel signals to MIX buses 510. Use the PRE switches K to select pre- or post-fader.

K PRE switches

These switches are used to select pre- or post-fader for signals sent from the input channel to MIX buses 510. Each switch is effective for one pair of MIX buses: 5/6, 7/8, or 9/10. When you turn these switches on, the pre-fader signals will be sent to the corresponding MIX bus pair.

Band Center frequencies 10 kHz 3 kHz 800 Hz 100 Hz Type shelving peaking peaking shelving

HI-MID LO-MID LOW

E EQ switch
This switch is used to turn the equalization on and off.
F M1M4 mix level controls
These controls are used to route the post fader signals from the stereo input channel to MIX buses 14. When stereo signals are input, the L channel signal will be sent to MIX buses 1, 3, and the R channel signal will be sent to MIX buses 2 and 4. Note: When you press down the M1M4 switches to the FIX position in the Variable/ Fix select section (see page 6), the output level of signals sent to the MIX buses will be fixed and the corresponding M1M4 mix level controls will be disabled.

G ON switches (M1M4)

These switches are used to turn on and off the signals routed from the stereo input channel to MIX buses 14. Note: When these switches are set to off, no signals are sent from the stereo input channel to the corresponding MIX buses regardless of the setting of the switches in the Variable/Fix select section (see page 6).
H M5M10 mix level controls
These control knobs route the stereo input channel signals to MIX buses 510. Stereo input signals are mixed into a monaural signal and sent to MIX buses 510. Use the PRE switches 9 to select pre- or post-fader.
I PRE (Pre-fader) switches
These switches are used to select pre- or post-fader for signals sent from the stereo input channel to MIX buses 510. Each switch is effective for one pair of MIX buses:5/6, 7/8, or 9/10. When you turn these switches on, the pre-fader signals are sent to the corresponding MIX bus pair.

J BAL (Balance) control

This control is used to adjust the left and right balance of signals sent from the stereo input channel to the ST bus.

K ST (Stereo) switch

When you turn this switch on, the stereo input channel signals will be sent to the ST bus. If you connect monaural signals to the 13L (MONO) jack or 15L (MONO) jack (see page 17, rear panel 5), the same signals will be sent to both L and R channels.

L ON switch

This switch is used to turn on and off the corresponding stereo input channel. When this switch is turned off, no signals are sent to the ST bus and MIX buses 110. However, using the PFL switch M will enable you to monitor the signals via the C-R MONITOR OUT jacks or PHONEs jack.
M PFL (Pre-fader listen) switch
When you turn this switch on, the pre-fader signals of the stereo input channel are routed to the PFL bus, and you can monitor the signals via the C-R MONITOR OUT jacks or PHONES jack.

N Channel fader

This fader is used to adjust the level of the stereo input channel signals. This fader setting affects the level of the signals routed to the ST bus, MIX buses 14, and MIX buses 58 (when the PRE switches are turned off).

MIX MIX (FIX) (VARIABLE) PFL L R CTL ST LR
PFL 13L(MONO), 15L(MONO) PAD HA HPF GAIN 4-Stage EQ ON PEAK EQ 80 HI-MID LO-MID ON ON ON ON M1 M2 M3 M4

14R, 16R

14/13, 16/15
PRE M5 M6 PRE M7 M8 PRE M9 M10 ST BAL
Signal ow of the stereo input channel

Master Section

Variable/Fix select section
The MC32/12 and MC24/12 feature a GA (Group/Aux) diversity function, which enables you to use the MIX bus 14 signals as group bus signals or AUX bus signals. This section of the console allows you to select whether you wish to use MIX buses 14 as group buses or AUX buses.

A M1M4 switches

These switches are used to select whether the level of signals sent from the input channels to MIX buses 14 will be xed (FIX) or variable (VARIABLE).

s When FIX is on:

The selected MIX bus(es) function as a group bus. The level of the signal from each input channel will be xed, and the M1M4 mix level controls of the input channels that correspond to the MIX buses will be disabled.

VARIABLE / M1

s When FIX is off:
The selected MIX bus(es) function as an AUX bus. Signals that pass through the M1M4 mix level controls of each input channel (see page 2, monaural input channel 8, and page 4, stereo input channel 6) are sent to the corresponding MIX buses.

Mix section

This section consists of the output channels that handle MIX bus 110 signals individually. Signals that pass these output channels are output from MIX OUT 110 jacks (see page 17, rear panel 6), and also routed to the AFL bus. MIX bus 14 signals are also routed to the ST bus and Matrixes 1/2.
HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH

s M1M4

These modules function as output channels for either a group bus or an AUX bus, depending on the setting of the switches in the Variable/Fix select section. The MIX bus 14 signals that pass these output channels can be routed to MIX OUT 14 jacks, ST bus, AFL bus, and Matrixes 1/2.

s M5M10

These modules function as output channels for an AUX bus. The MIX bus 510 signals that pass these output channels can be routed to MIX OUT 510 jacks and AFL bus.
A EQ controls (HIGH/MID/LOW)
This 3-band equalizer provides 15 dB of cut and boost over each frequency range of the MIX bus signals, with center frequencies and types shown in the following table. The frequencies for MID are variable.
Band HIGH MID LOW Center frequencies 10 kHz 3006 kHz 100 Hz Type shelving peaking (parametric) shelving

B EQ switch

C PAN control (applied only to M1M4)
This control allows you to adjust the stereo position of signals routed from MIX buses 14 to the ST bus.
D TO ST (To stereo) switch (applied only to M1M4)
When you turn this switch on, the MIX bus 14 signals will be sent to the ST bus.
E AFL (After-Fader Listen) switch

When you turn this switch on, the post-fader signals in the MIX buses are routed to the AFL bus, and you can monitor the signals via the C-R MONITOR OUT jacks or PHONES jack.

F Mix master fader

This fader adjusts the output level of the MIX buses. The settings of the M1M4 faders affect the level of signals sent to MIX OUT 14 jacks, ST bus, AFL bus, and Matrixes 1/2. The settings of the M5M10 faders affect the level of signals sent to the MIX OUT 510 jacks and AFL bus.
MIX MIX (FIX) (VARIABLE) PFL L R CTL
FIX MIX ST OUT 1 L R TO ST PAN AFL to MTRX to AFL
3-Stage EQ VARIABLE/FIX HIGH MID

MIX INSERT I/O 1

MIX OUT 2-4: Same as MIX OUT 1

3-Stage EQ

MIX OUT 5

to AFL AFL

MIX OUT 6-10: Same as MIX OUT 5
Signal ow in the Variable/Fix select section and Mix section

ST (Stereo) section

This section enables you to control the ST bus signals output from the ST1 OUT jacks (see page 17, rear panel 9) and ST2 OUT jacks (see page 17, rear panel J).
A POST ST1 (Post stereo 1) switch

POST ST1

This switch toggles between pre- and post-fader for signals output from the ST2 OUT jacks. When you turn this switch on, signals that passed the ST fader are output from the ST2 OUT jacks. When you turn the switch off, the ST fader setting does not affect signals output from the ST2 OUT jacks.

B MONO (Monaural) switch

When you turn this switch on, the ST bus signals will be mixed into a monaural signal and output from the ST2 OUT jacks. This switch setting does not affect signals output from the ST1 OUT jacks.

C LEVEL control

This control enables you to adjust the output level of signals at the ST2 OUT jacks. It does not affect the level of signals output from the ST1 OUT jacks.
D AFL (After-fader Listen) switch
When you turn this switch on, the ST bus post-fader signals are routed to the AFL bus, and you can monitor the signals via the C-R MONITOR OUT jacks or PHONES jack.

E ST (Stereo) fader

This fader enables you to adjust the nal output level of the ST bus signals. This fader setting affects the level of the signals routed to the ST1 OUT jacks, ST2 OUT jacks (when the POST ST1 switch is turned on), and the AFL bus.

A M1M4 level controls

These control knobs enable you to adjust the input level of MIX bus 14 post-fader signals.

B L/R controls

These control knobs enable you to adjust the input level of the ST bus post-fader signals for the L channel and R channel independently.
C LEVEL control D ON switch
This control knob enables you to adjust the output level of Matrix 12 signals. 2 This switch turns on and off Matrixes 12. When you turn this switch off, the corresponding matrix signal is not output from the MATRIX OUT jack. The signal is not sent to the AFL bus, either.

MATRIX

E AFL (After-fader Listen) switch
When you turn this switch on, the matrix 12 post-fader signals are sent to the AFL bus. You can monitor the signals via the C-R MONITOR OUT jacks or PHONES jack. However, this switch will be disabled if the ON switch ( 4) is turned off.
ST LR from 1 MIX OUT 2 MMM3 M4 L R ON LEVEL MATRIX OUT 1,2 AFL AFL LR

to Meter

Signal ow in the MATRIX section
C-R MONI (Control room monitor) section PHONES (headphones) section
This section enables you to control signals monitored via the C-R MONITOR OUT jacks (see page 18, rear panel M) and the PHONES jack on the front panel (C-R MONI section/ PHONES section 6).
A Monitor source select switch

PFL/AFL TAPE IN

PFL LEVEL
This switch enables you to select the type of signal to monitor via the C-R MONITOR OUT jacks and the PHONES jack.
s When the switch is set to PFL/AFL (

C-R MONI

You will monitor PFL signals (signals routed from input channels/AUX returns to the PFL bus) or AFL signals (signals routed from MIX buses 110/ST buses/MATRIX 12 to the AFL bus). If any one of the PFL switches for the input channels/AUX returns is turned on, the PFL indicator 2 will light up. In this case, the PFL bus signals (not the AFL bus signals) are routed to the C-R MONITOR OUT jacks and PHONES jack. If all the PFL switches are turned off, the AFL bus signals are sent to the C-R MONITOR OUT jacks and PHONES jack. Note: If you turn on any one of the PFL switches for the input channels/AUX returns while monitoring the AFL bus signal, the switching circuit will switch the signal to the PFL bus signal.
s When the switch is set to TAPE IN (
You can monitor the signals input from the TAPE IN jacks (see page 18, rear panel N).
B PFL (Pre-fader Listen) indicator
This indicator lights up when any one of the PFL switches for the input channels/AUX returns is turned on, indicating that the PFL bus signal is currently being monitored.
This control enables you to adjust the level of signals output from the C-R MONITOR OUT jacks. This setting does not affect the signal level at the PHONES jack.

PHONES

This switch turns on and off the monitoring signals output from the C-R MONITOR OUT jacks. It does not affect signals at the PHONES jack.
E LEVEL (Headphones level) control
This control enables you to adjust the level of signals output from the PHONES jack. This setting does not affect the signal level at the C-R MONITOR OUT jacks.
F PHONES (Headphones) jack
Connect monitoring stereo headphones here. See the gure on the right for wiring.

1/4" TRS phone plug

Tip (left) Ring (right)

Sleeve (ground)

TAPE IN section
This section enables you to control line-level signals input from the TAPE IN jacks. Input signals from the TAPE IN jacks can be routed to the ST bus or directly to the C-R MONITOR OUT jacks and PHONES jack.

A ST (Stereo) control

This control knob determines the level of input signals at the TAPE IN jacks that are sent to on the ST buses.

B ON switch

This switch turns on and off the signals sent from the TAPE IN jacks to the ST bus. This switch setting does not affect signals (input from the TAPE IN jacks) that are monitored via the C-R MONITOR OUT jacks and PHONES jack. Note: Set the Monitor source select switch (C-R MONI section 1) in the C-R MONI section to TAPE IN to monitor the TAPE IN signals via the C-R MONITOR OUT jacks and PHONES jack.

TAPE IN

PFL L R CTL

from MTRX 12

from AFL PFL PFL/AFL TAPE IN

PFLAFL/TAPE MATRIX

L ON LEVEL R

C-R MONITOR OUT

L ON ST R
Signal ow in the C-R MONI section, PHONES section, and TAPE IN section

TALKBACK section

This section is used to route talkback signals to the MIX buses and the ST bus.

A INPUT jack

This XLR-3-31 unbalanced input jack is used to connect a talkback microphone with an output impedance of 50600. See the gure below for wiring.

Male XLR plug

1 (ground) 3 (cold)

M5-M10

2 (hot)
B M1-M4 switch C M5-M10 switch D ST switch

TALKBACK

These switches (24) are used to send talkback signals to MIX buses 14, MIX buses 510, and ST bus. You can turn the switches on or off independently for each destination.

E LEVEL control

This control knob is used to adjust the talkback level.

F ON switch

This switch turns talkback signals on and off.
M1-M4 INPUT HA LEVEL ON M5-M10 ST
Signal ow in the TALKBACK section

METER SELECT section

You can select the signal source to be displayed in the Meter bridge section.

A Source select switch

This switch enables you to select the signal source to be displayed on the MATRIX (PFLAFL/TAPE) meter (Meter bridge 3) in the right corner of the level meter.
s When the switch is set to PFL-AFL/TAPE (

METER SELECT

The meter indicates either the PFL/AFL bus output level or the input level of the signals sent from the TAPE IN jacks, depending on the setting of the Monitor source select switch in the C-R MONI section.
s When the switch is set to MATRIX (
The meter indicates the output level of Matrix 1 and 2.

Meter bridge

This peak level meter indicates the output level of the MIX buses, ST bus, Matrixes 1/2, PFL bus, and AFL bus, and the level of the signal input from the TAPE IN jacks.

PEAK +8 +5 +3 +20

PHANTOM

MATRIX L R PFLAFL / TAPE

A M1M10 meters
These meters indicate the output level of MIX OUT 110.

B ST1 meters

These meters indicate the output level of ST1 OUT.
C MATRIX (PFLAFL/TAPE) meters
These meters indicate the PFL/AFL bus level, input level of signals sent from the TAPE IN jacks, or the output level of Matrixes 1/2, depending on the selection made in the METER SELECT section.

D POWER indicator

When the power to the MC32/12 (or MC24/12) is turned on, this indicator lights up.

E PHANTOM indicator

This indicator lights up when any of the phantom power supplies (see page 16, rear panel 4) are turned on.

Rear Panel

C-R MONITOR OUT +4dB

MATRIX OUT +4dB

ST2 OUT +4dB

4L (MONO) L

AUX RETURN +4dB
3L (MONO) 2L (MONO) 1L (MONO)
PHANTOM (+48V) 4R 3R 2R 1R

OFF ON

ST INSERT I/O 0dB

ST1 OUT +4dB

15L (MONO) 13L (MONO)

INSERT I/O 0dB

TAPE IN 10dBV REC OUT 10dBV

MIX INSERT I/O 0dB

OUT IN

MIX OUT +4dB

A INPUT A jacks 112, 1732 {112, 1724}
These are balanced, XLR-3-31 monaural input 1 (ground) Male XLR plug 3 (cold) jacks. Usually their nominal input levels range from 16 dB to 60 dB. However, when the pad switches (see page 2, front panel 1) are turned 2 (hot) on, the nominal input levels range from +10 dB to 34 dB. For every group of four input channels, the INPUT A jacks have phantom power of +48 V that can be turned on and off. See the gure on the right for wiring.

1/4" phone plug

Tip (send)

K MATRIX OUT jacks 1/2

These unbalanced phone jacks output Matrix 1/2 signals that are a mix of MIX buses 14 and ST bus, with a nominal output level of +4 dB. See the gure on the right for wiring.

L ST INSERT I/O jacks

These TRS phone jacks are used to insert an external processor into the ST bus, with nominal input/output levels of 0 dB. See the gure below for wiring.

M C-R MONITOR OUT jacks

These unbalanced phone jacks are used to monitor input signals sent from the PFL bus, AFL bus, and TAPE IN jacks, with a nominal output level of +4 dB. See the gure on the right for wiring.
Sleeve (ground) Phono plug

N TAPE IN jacks

These unbalanced phono jacks are used to connect a line-level device, with a nominal input level of 10 dBV. See the gure on the right for wiring.

Sleeve

O REC OUT jacks
These unbalanced phono jacks output line-level, pre-fader, preinsert I/O ST bus signals. See the gure on the right for wiring.

Phono plug

GA Diversity Function

What is GA Diversity?

GA Diversity is an output select function that allows you to use the MIX OUT jacks as group output jacks or AUX output jacks on the MC32/12 and MC24/12. You can route either MIX (Variable) bus signals or MIX (Fix) bus signals to the MIX OUT 14 jacks of the MC32/12 and MC24/12. You can select either one of these output signals in the Variable/Fix select section. If the M1M4 switches in the Variable/Fix select section are set to FIX ( ), the corresponding MIX OUT jacks will output MIX (FIX) bus signals. Since each channels output level for the MIX (FIX) bus signals is xed, the corresponding MIX OUT jacks will function as group output jacks. If the M1M4 switches in the Variable/Fix select section are set to VARIABLE ( ), the corresponding MIX OUT jacks will output MIX (VARIABLE) bus signals. Since each channels output level for the MIX (VARIABLE) bus signals is variable, the corresponding MIX OUT jacks will function as AUX output jacks. The GA Diversity function will enable you to congure a exible bus system, such as four groups and six AUX sends, two groups and eight AUX sends, or 10 AUX sends, etc., depending on the application.

MIX MIX PFL (FIX) (VARIABLE) L R CTL FIX MIX ST OUT 1 L R TO ST PAN AFL to MTRX to AFL
Setting the GA Diversity function
1. Press down the M1 switch ( FIX) in the Variable/ Fix select section (see page 6).
The FIX indicator will light up. The MIX OUT 1 output channel will receive the MIX (FIX) 1 bus signal, and the MIX OUT 1 jack will function as a group output jack.
2. Press the M1 switch again to set it to (

VARIABLE).

The FIX indicator will be turned off. The MIX OUT 1 output channel will receive the MIX (VARIABLE) 1 bus signal, and the MIX OUT 1 jack will function as an AUX output jack.
3. Set the M2, M3, and M4 switches in the same way.
You can set MIX OUT 14 channels to FIX or VARIABLE individually.

Specifications

Specications

General specications

Frequency response Total harmonic distortion 20 Hz20 kHz +1 dB, 3 dB, +4 dB 600 (ST1 OUT, ST2 OUT, MIX OUT, MATRIX OUT) (Input Gain Control at minimum) <0.1% @20 Hz20 kHz, +14 dB 600 (ST1 OUT, ST2 OUT, MIX OUT, MATRIX OUT) 128 dB equivalent input noise 95 dB residual output noise (ST1 OUT, ST2 OUT, MIX OUT, MATRIX OUT) 83 dB residual output noise (ST1 OUT) Hum and noise (Rs=150, 20 Hz20 kHz) 78 dB residual output noise (MIX OUT) 64 dB (68 dB S/N) (ST1 OUT, MIX OUT) 84 dB CH IN to ST1 OUT 84 dB CH IN to MIX OUT 58 dB ST IN to ST1 OUT 58 dB ST IN to MIX OUT 70 dB adjacent input 70 dB input to output 44 dB variable 0 dB/26 dB 80 Hz 12 dB/oct 15 dB Maximum HIGH 10 kHz * HI-MID 400 Hz8 kHz LO-MID 80 Hz1.6 kHz LOW 100 Hz * 15 dB Maximum HIGH 10 kHz * HI-MID 3 kHz LO-MID 800 Hz LOW 100 Hz * shelving peaking peaking shelving shelving peaking peaking shelving ST master fader at nominal level. all channel fader, mix level control: minimum ST switch: OFF Mix master fader at nominal level. all channel fader, mix level control: minimum M1M4 switch: OFF ST master/mix master fader, one channel fader and mix level control at nominal level. one channel gain control: maximum

Maximum voltage gain

Crosstalk at 1 kHz Gain control Channel input pad Channel input HPF
Input channel equalization

D: 705

+48V PEAK L ON M1 3-Stage EQ EQ ON M2

f g f f

PHANTOM FIX REC OUT
MIX MIX PFL (FIX) (VARIABLE) L R CTL
PAD 4-Stage EQ VARIABLE/FIX MID TO ST PAN AFL to AFL L ST1 OUT MIX OUT 2-4: Same as MIX OUT 1 ST INSERT I/O R AFL R AFL LR to MTRX M5 PRE M6 M7 PRE M8 M9 PRE M10 L MONO LEVEL R ON M1 3-Stage EQ ON ON M2

HA EQ R

MIX ST OUT 1 L R
INPUT A 1-12, 17-24/17-32 INPUT B LOW HIGH HI-MID g LO-MID g ON ON M4 MIX INSERT I/O 1 ST INSERT I/O L HIGH LOW ON M3

ST PAN POST ST1

ST2 OUT

PFL 4-Stage EQ MIX OUT 5

13L(MONO), 15L(MONO) EQ PEAK EQ
14/13, 16/15 LO-MID LOW HIGH M3 AFL from 1 MIX OUT 2 MIX OUT 6-10: Same as MIX OUT MM3 M4 L R ST BAL M1 M4 MID ON ON PRE M5 M6 PRE M7 M8 PRE M9 M10 to AFL

from MIX OUT

from MIX OUT 9 10

to C-R MONITOR

14R, 16R 4-Stage EQ

Block and Level diagram

ON LEVEL

MATRIX OUT 1,2

PFL 1L(MONO), 2L(MONO) M1 ON M3 1R, 2R M4 ST from MTRX 12 M2
AUX RETURN PFL 3L(MONO), 4L(MONO) M5 ON M7 ON M8 M9 M10 PHONES ST LEVEL L TAPE IN M1-M4 INPUT HA LEVEL ST +20 MONITOR OUT MIX OUT MIX(FIX) 1-4 MIX(VARIABLE) 1-10 MIX INSERT I/O TAPE IN ST INSERT I/O REC OUT PHONES (@40) ST1 OUT ST2 OUT +Talkback INPUT ON M5-M10 ON ST R R 3R, 4R LEVEL M6 from AFL PFL PFL/AFL TAPE IN L C-R MONITOR OUT PFLAFL/TAPE MATRIX

+10 AUX RETURN

Ch13-16, GAIN Min

Ch INSERT

Ch1-12, 17-24/32 PAD On, GAIN Min
Ch1-12, 17-24/32 PAD Off, GAIN Min

Ch13-16, GAIN Max

Ch1-12, 17-24/32 PAD On, GAIN Max
Ch1-12, 17-24/32 PAD Off, GAIN Max

YAMAHA CORPORATION

V670450 RIP 28 NP Printed in Taiwan Pro Audio & Digital Musical Instrument Division P.O. Box 3, Hamamatsu, 430-8651, Japan

General Specifications

Frequency response
Group/Aux Diversity Means Unprecedented Mixing Versatility. The Yamaha MC32/12 and MC24/12 are high-performance mixing consoles designed primarily for sound
20 Hz20 kHz +1 dB, 2 dB, +4 dB 600 (ST1 OUT, ST2 OUT, MIX OUT, MATRIX OUT) <0.1% @20 Hz20 kHz, +14 dB 600 (ST1 OUT, ST2 OUT, MIX OUT, MATRIX OUT) 128 dB equivalent input noise 95 dB residual output noise (ST1 OUT, ST2 OUT, MIX OUT, MATRIX OUT) 83 dB residual output noise (ST1 OUT) 78 dB residual output noise (MIX OUT) ST master fader at nominal level. all channel fader, mix level control: minimum ST switch: OFF Mix master fader at nominal level. all channel fader, mix level control: minimum M1M4 switch: OFF ST master/mix master fader, one channel fader and mix level control at nominal level. one channel gain control: maximum
Meters Channel peak indicators Phantom power Power requirement Power consumption Dimensions (W x H x D) Weight
13 segment LED 14 An indicator for each channel turns on when the pre-channel fader signal is 3 dB below clipping. +48V (balanced) USA and Canadian General 120 W MC32/12: 705 mm (54 6-5/16 27-3/4) M24/12: 705 mm (45-1/16 6-5/16 27-3/4) MC32/12: 38 kg (83.8 lbs.) M24/12: 34 kg (75 lbs.) 120 V AC 60 Hz 230 V AC 50 Hz

YAMAHA

Total harmonic distortion Hum and noise (Rs=150, 20 Hz20 kHz)

MC SERIES

Input Specifications
Input connectors CH INPUT 112, 724/32 CH INPUT 1316 AUX RETURN TAPE IN CH INSERT I/O ST INSERT I/O MIX INSERT I/O TALKBACK INPUT 50600 Mics 10 k 600 Line Gain trim MAX MIN MAX MIN Input impedance 3 k Nominal impedance 50600 Mics Input level Sensitivity
64 dB (68 dB S/N) (ST1 OUT, MIX OUT)
Nominal Level 60 dB (775V) 16 dB (123mV) 34 dB (15.5mV) +10 dB (2.45V) +4 dB (1.23V) 10 dBV (316mV) 0 dB (775mV) 50 dB (2.45mV)
Max. before clipping 40 dB (7.75mV) + 4 dB (1.23V) 14 dB (155mV) +30 dB (24.5V) +20 dB (7.75V) +8 dBV (2.51V) +20 dB (7.75V) 24 dB (48.9mV)
Connector type A: XLR-3-31 type 2 B: Phone jack

Maximum voltage gain

reinforcement applications and installations. 32-input and 24-input models are available, both with a unique 12-buss architecture, 10 mix busses, plus stereo,
84 dB CH IN to ST1 OUT 84 dB CH IN to MIX OUT 58 dB ST IN to ST1 OUT 58 dB ST IN to MIX OUT 70 dB adjacent input 70 dB input to output 44 dB variable 0 dB/26 dB 80 Hz 12 dB/oct 15 dB Maximum HIGH HI-MID LO-MID LOW 15 dB Maximum HIGH HI-MID LO-MID LOW 15 dB Maximum HIGH MID LOW 10 kHz* 400 Hz8 kHz 80 Hz1.6 kHz 100 Hz* 10 kHz * 3 kHz 800 Hz 100 Hz * shelving peaking peaking shelving shelving peaking peaking shelving
86 dB (38.8V) 42 dB (6.16mV) 60 dB (775V) 16 dB (123mV) 12 dB (195mV) 26 dBV (50.1,V) 26 dB (38.8mV) 10 dB (245mV) 66 dB (338V)
Phone jack (TRS) 3 Phono Phone jack, TRS XLR-3-31 type 3

MIXING

Crosstalk at 1 kHz Gain control Channel input pad Channel input HPF Input channel equalization
1. Sensitivity is the lowest level that will produce an output of +4dB (1.23V) or the nominal output level when the unit is set to maximum gain. 2. Balanced 3. Unbalanced 4. T: OUT, R: IN, S: GND * 0 dB=0.775 Vrms, 0 dBV=1 Vrms

Output Specifications

Output connectors ST1 OUT ST2 OUT MIX OUT MATRIX OUT C-R MONITOR OUT REC OUT CH INSERT I/O ST INSERT I/O MIX INSERT I/O PHONES Phones 3mW 100mW ST phone jack k Lines 10 dBV (316mV) 0 dB (775mV) Lines +4 dB (1.23V) Output impedance 150 Nominal impedance Output level Nominal Max. before clipping +24 dB (12.3V) +20 dB (7.75V) +24 dB (12.3V) +20 dB (7.75V) +10 dBV (3.16V) +20 dB (7.75V) Connector type XLR-3-32 type Phone jack

CONSOLES

ST input channel equalization
featuring Yamahas Group/Aux Diversity system for

Mix out equalization

XLR-3-32 type Phone jack2 Phono
unprecedented flexibility. The MC consoles also feature a center-master design with a logical, easy-to-use control layout, and are remarkably affordable in spite of their outstanding overall quality and extraordinary versatility.

10 kHz * shelving 300 Hz6 kHz peaking 100 Hz * shelving
* Turn over/Roll off frequency of shelving: 3 dB below maximum variable level. Specifications are subject to change without prior notice.

Phone jack, TRS

1. Balanced

2. Unbalanced

3. T: OUT, R: IN, S: GND * 0 dB=0.775 Vrms, 0 dBV=1 Vrms
For details please contact:
Yamaha Corporation of America Professional Audio Products 6600 Orangethorpe Avenue Buena Park, CA Yamaha Corporation of America. All prices and specifications subject to change without notice. Yamaha is a registered trademark of Yamaha Corporation. All other products or services mentioned are trademarks of their respective owners. www.yamaha.com/proaudio or www.yamaha.co.jp/product/proaudio/homeenglish/index.html

MC32/12 Rear Panel

Group/Aux Diversity System. Most mixing consoles have a fixed buss system: e.g. say 4 group busses, 3 or 4 auxiliary busses, a stereo buss, and maybe a mono buss. The numbers and variations are endless, but youre stuck with the configuration you initially purchased. If your buss requirements change, you need a new console. And if your buss requirements change from project to project, youll need a console with much more capacity than any single job requires. The GA Diversity system provided on the MC Series Mixing Consoles gives you the flexibility to match the consoles buss configuration to a wide range of signal-routing requirements. 4 of its 10 mix busses can be individually
Clean Signals from Input to Output. Many mixer circuits must handle low-level signals the head amplifiers, for example and must be designed with extra care or they can be a major source of noise and distortion. Other critical design criteria includes inter-stage matching, internal impedance, circuit layout, grounding, component selection, and a veritable plethora of other factors that affect performance and the mixers overall sound. Heres where Yamaha technology makes a real difference. Whether youre using microphone or line inputs, Yamahas high-performance circuitry gives you an exceptionally clean, quiet signal
Specs You Can Trust. Yamaha never has tweaked specifications. Never will. Its amazing how mediocre specs can be made to look impressive by simply optimizing test conditions. The electrical specifications we publish are all brutally honest, measured under the stated and/or industry-standard conditions. When in doubt, we urge you to use the most sensitive sound measurement devices available: your own ears. Theyll tell you who you can trust. Rugged & Reliable. From connectors to controls to chassis, MC consoles are built to last. Whether used in an installation or taken on the road, these attractively-finished, rugged consoles will keep on performing with the utmost reliability. Inputs. The MC32/12 has 28 mono input channels, and the MC24/12 has 20 mono input channels, with balanced XLR-type microphone inputs and balanced/unbalanced TRS

input channels (a total of four inputs) with unbalanced L/MONO and R phone jack inputs. The L/MONO inputs allow the stereo channels to be used for mono signals. Channel Insertion. Insert send/return patch points are included on all mono channels for convenient insertion of compressor/limiters (a must for top-quality vocal sound), equalizers, or any other outboard equipment you might need to apply to individual channels. Input Controls & Level Matching. Gain trim controls with a 44-dB range and LED peak indicators on all mono and stereo inputs facilitate optimum level matching with a wide range of sources. The mono inputs additionally feature 26-dB pad switches, phase switches for easy input phase correction, and switchable high-pass

Input Panel

sound of individual instruments or voices, emphasize a channel in relation to others, blend the sound of several channels, create special effects, reduce noise, and much more. The hi-mid and lo-mid bands on the mono channels are sweepable for extra control precision. EQ bypass switches are provided on all
channels so equalization can be punched in or out as required without having to change settings. Four Group/Aux Sends. The M1 through M4 Mix Send controls feed the MC consoles unique GA Diversity
system. When the corresponding FIX/VAR switch in the master section is set to the VAR position, that send functions as a pre-fader auxiliary send: i.e. the send control adjusts the level of the signal sent to the corresponding buss (M1 M4), and the send ON
switch simply turns the corresponding send on or off. If a FIX/VAR switch is set to the FIX position, the send then functions as a post-fader group send: The send control is bypassed, and the send ON switch functions as a group assign switch.
Six Aux Sends. The M5 through M10 controls function as auxiliary sends, feeding the corresponding mix buss. These controls can be switched to receive the pre- or post-fader signal in groups of two (5/6, 7/8, and 9/10). Stereo Assign & Panning. Stereo assign switches and pan controls on each input channel assign the corresponding channel signal to the MC consoles stereo buss. Channel Faders, Pre-fader Listen, & Channel ON Switches. Smooth, noise-free 100-mm linear faders make it easy to set up the optimum balance between channels, while PFL (Pre-Fader Listen) switches allow convenient solo monitoring of a channels pre-fader signal. All channels additionally feature channel on switches that can be used to switch the channel signal into or out of the mix without changing any other settings. Mix Buss Master Strips M1 through M4. The first four mix buss master strips - M1 through M4 receive either the pre-fader aux signal or the post-fader group signal from the channel sends, depending on the setting of the corresponding GA Diversity FIX/VARI switch. Each strip has its own 3-band equalizer and EQ switch, as well as a to stereo switch, a pan control which assign the mix buss signal to the consoles stereo buss. The mix buss master strips also feature 100-mm faders and AFL (After-Fader Listen) switches for convenient solo monitoring. sound system. Stereo Aux Returns & Buss Sends. The stereo auxiliary return 1/2 pair has controls to adjust the level of the returned signal sent to the M1 through M4

Rear Panel-Main Out

GA Diversity FIX/VARI Switches. The core of the MC consoles innovative GA Diversity system, these switches determine whether the corresponding sends on the input channels - M1 through M4 - function as auxiliary or group sends (see Four Group/Aux Sends, for more details).
M1 through M4 strips, strips M5 through M10 have individual 3-band equalizers and EQ switches as well as 100-mm faders and AFL (After-Fader Listen) switches. Stereo Master Strip. The stereo buss feeds two stereo output pairs: stereo 1 and stereo 2. The main linear stereo fader feeds the balanced stereo 1 outputs, with AFL listen capability. The stereo 2 signal can be derived pre or post the stereo 1 fader, and feeds an unbalanced output pair via the rotary stereo 2 level control. A mono switch is also provided to sum the stereo 2 signal to
mixes and the stereo buss as well as return on/off switch and PFL switches. The signal returned to the stereo auxiliary return 3/4 pair can be sent to any of the remaining mix busses (M5 through M10), or to the stereo buss. The 3/4 returns also have on/off and PFL switches. Two Matrix Mixes. Matrix controls can be used to set up two matrix sub-mixes from the M1 through M4 mix busses and the stereo buss. Both matrix mixes include mix on/off switches and AFL switches. Flexible Monitoring & Metering. Convenient monitoring is provided by control-room monitor and headphone output with independent level controls, and peak-reading level meters providing accurate visual monitoring of the signal appearing at the ten mix busses, the stereo buss, and the PFL and AFL busses. Handy Rec Outputs & Tape Inputs. Rec outputs provide a line-level stereo output for convenient recording of the main program, while tape inputs with a level control allow the output from a recorder or other line-level source to be added to the consoles stereo signal.
Large, Open Master Section
from input to output. But
switched from pre-fader auxiliary send status to group type operation, so you can have 2 groups and 8 auxiliary sends, 4 groups and 6 auxiliary sends, or any other combination the job requires.
then theres RF rejection. RF (Radio Frequency) noise generated by motors, video monitors, and digital equipment of almost any kind can make the cleanest, quietest circuitry virtually worthless. The MC32/12 and MC24/12 boast outstanding RF noise rejection, so you can use them just about anywhere.

filters to cut out

phone jack line inputs. Phantom power is switchable in 4input groups for all mono inputs, providing direct compatibility with high-performance phantom-powered condenser microphones and DI boxes. On both the MC32/12 and MC24/12, stereo line sources can be directly connected to either of 2 stereo

rumble and other low-frequency noise. 4-band Channel EQ. 4-band equalization on each input channel can be used to bring out the best in the
mono for instant mono monitoring or to feed a mono
Mix Buss Master Strips M5 through M10. Mix buss strips M5 through M10 receive the auxiliary signal from the corresponding channel send controls. Like the

Channel Strips