Turning the Power On

Be sure that the mixers power switch is in the STANDBY position.
Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or re.
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.
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.
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.
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.

An Introduction

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 rst 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.
1. A Place For Everything and Everything In Its Place
1-1. A Plethora Of ConnectorsWhat Goes Where?
Questions youre likely to encounter when setting up a system for the rst time might include Why all these different types of connectors on the back of my mixer? and Whats the difference?. Lets start by taking a look at the most common connector types.
The Venerable RCA Pin Jack
This is the consumer connector, and the one that has been most commonly used on home audio gear for many years. Also known as phono jacks (short for phonogram), but the term isnt used much these daysbesides, its too easily confusable with phone jacks, below. RCA pin jacks are always unbalanced, and generally carry a line-level signal at 10 dB, nominal. Youre most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer, or when connecting the output of your mixer to a cassette recorder or similar gear.

The Versatile Phone Jack

The name phone jack arose simply because this conguration was rst used in telephone switchboards. Phone jacks can be tricky because you cant always tell what type of signal theyre designed to handle just by looking at them. It could be unbalanced mono, unbalanced stereo, balanced mono, or an insert patch point. The connectors label will usually tell you what type of signal it handles, as will the owners manual (you do keep your manuals in a safe place, dont you?). A phone jack that is set up to handle balanced signals is also often referred to as a TRS phone jack. TRS stands for Tip-Ring-Sleeve, which describes the conguration of the phone plug used.

Normal-phase signal + normal-phase noise.
Desired signal with no noise. Normal-phase signal + reverse-phase noise.
1-3. Signal LevelsDecibel Dos and Donts
From the moment you start dealing with things audio, youll have to deal with the term decibel and its abbreviation, dB. Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you dont need to be an expert to make things work. Here are a few basics you should keep in mind: Consumer gear (such as home audio equipment) usually has line inputs and outputs with a nominal (average) level of 10 dB. Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB. You should always feed 10 dB inputs with a 10 dB signal. If you feed a +4 dB signal into a 10 dB input you are likely to overload the input. You should always feed +4 dB inputs with a +4 dB signal. A 10 dB signal is too small for a +4 dB input, and will result in less-than-optimum performance. Many professional and semi-professional devices have level switches on the inputs and/or outputs that let you select 10 or +4 dB. Be sure to set these switches to match the level of the connected equipment. Inputs that feature a Gain controlsuch as the mono-channel inputs on your Yamaha mixerwill accept a very wide range of input levels because the control can be used to match the inputs sensitivity to the signal. More on this later.
2. Where Your Signal Goes Once Its Inside the Box
At first glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal flows in any mixer. Heres a greatly simplified block diagram of a generic mixer to help you become familiar with the way these things work.
2-1. Greatly Simplied Mixer Block Diagram
Input Channel Master Section
Signals from the mixers other input channels (if they are assigned to this master output or bus).

Input Channel

1 Head Amp
The very rst stage in any mixer, and usually the only stage with signicant gain or amplication. The head amp has a gain control that adjusts the mixers input sensitivity to match the level of the source. Small signals (e.g. mics) are amplied, and large signals are attenuated.

Master Section

4 Summing Amplier
This is where the actual mixing takes place. Signals from all of the mixers input channels are summed (mixed) together here.
5 Master Fader & Level Meter
A stereo, mono, or bus master fader and the mixers main output level meter. There could be several master faders depending on the design of the mixeri.e. the number of buses or outputs it provides.

3-2. Level Setup Procedure For Optimum Performance
Now that we know what we have to do, how do we do it? If you take another quick look at the mixer block diagram youll notice that theres a peak indicator located right after the head amplier and EQ stages, and therein lays our answer! Although the exact procedure you use will depend on the type of mixer you use and the application, as well as your personal preferences, heres a general outline:
Start by setting all level controls to their minimum: master faders, group faders (if provided), channel faders, and input gain controls. Also make sure that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or bypassed.
Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding channel until the peak indicator begins to ash, then back off a little so that the peak indicator ashes only occasionally. Repeat for each active channel.
Raise your master fader(s)and group faders if availableto their nominal levels (this will be the 0 markings on the fader scale).
Now, with all sources playing, you can raise the channel faders and set up an initial rough mix.
Thats basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you dont stay in the peak zone all the time. If the output level meters are peaking constantly you will need to lower the channel faders until the overall program falls within a good rangeand this will depend on the dynamic range of your program material.
4. External Effects, Monitor Mixes, and Groups
4-1. AUX Buses For Monitor Sends and Overall Effects
There are a number of reasons why you might want to tap the signal owing through your mixer at some point before the main outputs: the two most common being 1) to create a monitor mix that is separate from the main mix, and 2) to process the signal via an external effect unit and then bring it back into the mix. Both of these functions, and more, can be handled by the mixers AUX (Auxiliary) buses and level controls. If the mixer has two AUX buses, then it can handle both functions at the same time. Larger mixing consoles can have 6, 8, or even more auxiliary buses to handle a variety of monitoring and processing needs. Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you need a pre-fader or post-fader send. AUX sends often feature a switch that allows you to congure them for pre- or post-fader operation.

Pre/PostWhats the difference?
pre A pre-fader signal is taken from a point before the channel fader, so the send level is affected only by the AUX send level control and not by the channel fader. Pre-fader sends are most commonly used to provide monitor mixes. post A post-fader signal is taken from a point after the channel fader, so its level will be affected by both the AUX send level control and the channel fader. Post-fader sends are most commonly used in conjunction with the mixers AUX or effect returns for external effect processing.
Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplier and speaker system. The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No return signal is used in this case.
Channel Fader AUX Send Level

Master Fader

AUX Send Level

AUX Return Level

Post-fader send for external effects processing. The send signal is fed to the external effect unita reverb unit, for exampleand the output from the effect unit is returned to the AUX Return jack and mixed back into the main program. The send level is affected by the channel fader so the effect level always remains in proportion to the channel signal.

4-2. Using Groups

Group buses and faders can greatly simplify the mixing processparticularly in live situations in which changes have to be made as quickly as possible. If you have a group of channels that need to be adjusted all together while maintaining their relative levels, grouping is the way to go. Simply assign the group to a group bus, and make sure that group is also assigned to the main program bus. Then you can adjust the overall level of the group using a single group fader, rather than having to attempt to control multiple channels faders simultaneously. Group buses usually also have their own outputs, so you can send the group signal to a different external destination from the main mix.
Channel faders Assigned to Group (Controlled As a Group)
A group of channels whose levels need to maintain the same relationshipa drum mix, for examplecan be assigned to a group bus. Usually the group bus signal can be output independently via Group outputs, or it can be assigned to the main program (stereo) bus to be mixed in with the main stereo program.

Group Fader

Once the mix between the channels assigned to the group is established via the channel faders, the overall level of the entire group can be conveniently adjusted via a single group fader.
Channel faders Assigned to Stereo (Controlled Individually)

Stereo Master Fader

4-3. Channel Inserts for Channel-specic Processing
Another way to get the mixers signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually break the mixers internal signal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specic channelalthough they can be used with just about any type of in/out processor.

Channel Fader

When a plug is inserted into the channel insert jack, the internal signal path is interrupted and sent outside the mixer for external processing.
Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the split Y end. One of the mono phone jacks carries the send signal to be fed to the input of the external processor, and the other carries the return signal from the output of the processor.
To the input jack of the external processor To the INSERT I/O jack Sleeve Sleeve Ring Tip Tip
To the output jack of the external processor

5. Making Better Mixes

5-1. Approaching the MixWhere Do You Start?
Mixing is easy, right? Just move the faders around until it sounds right? Well, you can do it that way, but a more systematic approach that is suited to the material youre mixing will produce much better results, and faster. There are no rules, and youll probably end up developing a system that works best for you. But the key is to develop a system rather than working haphazardly. Here are a few ideas to get you started:

Music FirstThen Mix

In any case, the music comes rst. Think about the music and let it guide the mix, rather than trying to do things the other way around. What is the music saying and what instrument or technique is being used to drive the message? Thats where the focus of your mix should be. Youre using a high-tech tool to do the mixing, but the mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music.
5-2. Panning For Cleaner Mixes
Not only does the way you pan your individual channels determine where the instruments appear in the stereo sound eld, but it is also vital to give each instrument its own space so that it doesnt conict with other instruments. Unlike live sound in a real acoustic space, recorded stereo sound is basically 2-dimensional (although some types of surround sound are actually very 3-dimensional), and instruments positioned right on top of each other will often get in each others wayparticularly if they are in the same frequency range or have a similar sound.

Faders Down

It might sound overly simple, but it is usually a good idea to start with all channel faders offall the way down. Its also possible to start with all faders at their nominal settings, but its too easy to lose perspective with this approach. Start with all faders down, then bring them up one by one to ll out the mix. But which channel should you start with?

Example1:

Vocal Ballad Backed by Piano Trio What are you mixing? Is it a song in which the vocals are the most important element? If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal rst (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound.

Example2:

Funky R&B Groove The approach will be totally different if youre mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the drive or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrumentwith the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well.
Making the Most Of Your Mixer Spread them Out!
Position your instruments so they have room to breathe, and connect in the most musical way with other instruments. Sometimes, however, youll want to deliberately pan sounds close together, or even right on top of one another, to emphasize their relationship. There are no hard-and-fast rules. Normally (but this is not a rule), bass and lead vocals will be panned to center, as will the kick drum if the drums are in stereo.

5-4. Ambience

Judicious application of reverb and/or delay via the mixers AUX busses can really polish a mix, but too much can wash out the mix and reduce overall clarity. The way you set up your reverb sound can make a huge difference in the way it meshes with the mix.

Reverb/Delay Time

Different reverb/delay units offer different capabilities, but most offer some means of adjusting the reverb time. A little extra time spent matching the reverb time to the music being mixed can mean the difference between great and merely average sound. The reverb time you choose will depend to a great degree on the tempo and density of the mix at hand. Slower tempos and lower densities (i.e. sparser mixes with less sonic activity) can sound good with relatively long reverb times. But long reverb times can completely wash out a faster more active piece of music. Similar principles applies to delay.

5-3. To EQ Or Not To EQ

In general: less is better. There are many situations in which youll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better denition. Bad EQand most commonly bad boostjust sounds terrible.

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 good-sounding mix, boost only in very small increments. A tiny boost in the midrange can give vocals more presence, or a touch of high boost can give certain instruments more air. Listen, and if things 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.

5-5. Built-in Effects

Your MG mixer features a high-performance internal effect system offers extraordinary sound-processing power and versatility without the need for external equipment. The internal DSP (Digital Signal Processor) lets you individually add reverb and delay to each channel in the same way that you can with an external effect unit but you dont need to wire up any extra gear, and wont suffer the signal quality loss that external connections sometimes entail. For details see page 20.

Channel Control Section

1 GAIN Control
Channels 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Channels 9/10 and 11/12 (Stereo)
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 (5/6 and 7/8), 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.
Switch (High Pass Filter)
This switch toggles the HPF on or off. To turn the HPF on, press the switch in ( ). The HPF cuts frequencies below 80 Hz. (But note that regardless of the switch setting, the mixer does not apply this HPF to the line inputs of stereo input channels.)
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 Type Shelving Peaking Shelving Base Frequency Maximum Cut/Boost 10 kHz 2.5 kHz 100 Hz 15 dB

HIGH MID LOW

5 AUX Control
The AUX knob controls the signal level that the channel sends to the AUX bus. The knob should generally be set close to the position. If you are using stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX bus.
Allows you to output the signal to the buses regardless of the setting of the ST switch 9.

6 PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage through channel fader B) to the AUX bus, so that AUX output is not affected by the fader. If you set the switch off ( ) the mixer sends the post-fader signal to the AUX bus.

B Channel Fader

Adjusts the output level of the signal being input to the channel. Use these faders to adjust the volume balance among the various channels.
To reduce noise, set the fader sliders for unused channels all the way down.

7 EFFECT Controls

Adjusts the level of the signal sent from the channel to the EFFECT bus. Note that the signal level to the bus is also affected by the fader. If you are using stereo channels (CHs 5/6, 7/8, 9/10, or 11/12), the signals from the L (odd) and R (even) channels are mixed and then sent to the EFFECT bus.

8 PAN Control (1 to 4)

PAN/BAL Control (5/6 and 7/8) BAL Control (9/10 and 11/12)
The PAN control determines the positioning of the channels signal on the Group 1 and 2 buses or on the Stereo L and R buses. The BAL control knob sets the balance between left and right channels. Signals into to the L input (odd channel) feed to the Group 1 bus or to the Stereo L bus; signals into the R input (even channel) feed to the Group 2 bus or the Stereo R bus.
On channels where this knob provides both PAN and BAL controls (5/6 and 7/8), the knob operates as a PAN control if you are inputting through the MIC jack or into the L (MONO) input only, and operates as a BAL control if you are inputting into both L and R inputs.

ST Switch

This switch assigns the channels signal to the Stereo L and R buses. To send the signal to the Stereo bus, set the switch on by pressing it in ( ). The switch lights up orange to indicate that it is on.
0 PFL (Pre-Fader Listen) Switch
This switch lets you monitor the channels pre-fader signal. To set the switch on, press it in ( ) so that it lights up. When the switch is on, the mixer outputs the channels pre-fader signal to the PHONES and C-R OUT jacks, for monitoring.

A GROUP Switch

Use this switch to assign the channels signal to the Group output. Press the switch in ( ) to output the signal to the Group 1 and 2 buses.

Master Control Section

4 Master SEND B A
Master AUX Control Adjusts the signal level to the corresponding AUX SEND jack. Master EFFECT Control Adjusts the level of the signal on the EFFECT bus. This is the signal that is output through the EFFECT jack.
These Master SEND controls do not affect the level of the signal sent from the EFFECT bus to the internal digital effector.

5 RETURN

AUX Control Adjust the level of the mixed L/R signal sent from the RETURN jacks (L (MONO) and R) to the AUX bus.
ST Control Adjust the level of the signal sent from the RETURN jacks (L (MONO) and R) to the Stereo bus.
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.

6 2TR IN Control

Adjusts the level of the signal sent from the 2TR IN jack to the Stereo bus.

7 PHANTOM +48 V Switch

This switch toggles phantom power on and off. If you set the switch on, the mixer supplies power to all channels that provide XLR mic input jacks (CHs 14, 5/6, 7/8). Set this switch on when using one or more condenser microphones.
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 ( need phantom power.

) if you do not

C 1 ST Master Fader
Adjusts the signal level to the ST OUT jacks.

2 GROUP 1-2 Fader

Adjusts the signal level to the GROUP OUT 1 and GROUP OUT 2 jacks.
When tuning the switch on ( ), be sure that only condenser mics are connected to the XLR input jacks (CHs: 1 to 7/8). 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 fader, GROUP 1-2 fader, etc.) to minimum settings before operating the switch, to avoid risk of loud noises that could cause hearing loss or device damage.

3 TO ST Switch

If this switch is on ( ), the mixer sends the signals processed by the GROUP 1-2 fader (2) onto the Stereo bus. The Group 1 signal goes to Stereo L and the Group 2 signal goes to Stereo R.

A POWER Indicator

This indicator lights up when the mixers power is ON.

B PHONES Jack

Connector for headphones. This is a stereo phone-type output jack.
The signal monitored by these jacks is selected by the settings of the ST-GROUP toggle switch, the 2TR IN switch, and the PFL switches on the input channels.
When you turn on the power, the ON switch lights up and the internal effector becomes active.
PFL Switch Set this switch on if you wish to output the effect signal to the PFL bus. EFFECT RTN Fader Adjusts the signal level from the internal digital effector to the STEREO bus.
Rear Input/Output Section

C 1 Channel Input Jacks

These are unbalanced stereo line input jacks. Two jack types are provided: phone type (CHs 5/6 to 11/12) and RCA pin type (CHs 9/10, 11/12).

3 Channel Input Jacks

MIC jacks (CHs 1 to 4, 5/6, 7/8) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). LINE jacks (CHs 1 to 4) These are balanced TRS phone-type line input jacks (T:Hot; R:Cold; S:Ground). You can connect either balanced or unbalanced phone plugs to these jacks.
Where a channel provides both a phone jack and an RCA pin jack, 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.

4 GROUP OUT (1, 2) Jacks

These are impedance-balanced phone-type output jacks that output the Group 1-2 signals. Use these jacks to connect to the input jacks of an MTR, external mixer, or other such device.
Where an input channel provides both a MIC INPUT jack and a LINE INPUT 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.

2 INSERT I/O Jacks

Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (CHs 1 to 4). 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.

5 ST OUT (L, R) Jacks

These jacks deliver stereo output of the mixed signal. You use these jacks, for example, to connect to the power amplier driving your main speakers. You also use these jacks when you wish to record the signal utilizing the level control applied by the ST fader in the Master Control section. XLR jacks XLR-type balanced output jacks. LINE jacks TRS phone-type balanced output jacks.
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
To the INSERT I/O jack Sleeve

Sleeve Ring Tip Tip

6 C-R OUT Jacks
Use these stereo phone-type output jacks to connect to your monitor system.
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.

7 SEND Jacks

AUX This is an impedance balanced phone-type output jack. This jack outputs the signals from AUX bus, respectively. You use this jack, for example, to connect to an effector or to a cue box or other such monitoring system. EFFECT This is an impedance balanced phone-type output jack that outputs the signal from the EFFECT bus. You use this jack, for example, to connect to an external effector.

0 2TR IN Jacks

These RCA pin jacks input a stereo sound source. Use these jacks when you want to connect a CD or DAT directly to the mixer for monitoring
You can adjust the signal level using the 2TR IN control in the Master Control section.

A FOOT SWITCH Jack

This phone input jack can connect to the (separately sold) YAMAHA FC5 foot switch. With the foot switch connected, you can use your foot to toggle the digital effects ON and OFF.
8 RETURN L (MONO), R Jacks
These are unbalanced phone-type line input jacks. The signal received by these jacks is sent to the Stereo bus and the AUX bus. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.).

B POWER Switch

Use this switch to set mixer power to ON or STANDBY.
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, be sure to unplug the adaptor from the wall outlet.
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

C AC ADAPTOR IN Connector
Connects to the included PA-20 power adaptor (see page 5).
Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in re or electric shock.

9 REC OUT (L, R) Jacks

By connecting these jacks to an external DAT recorder or cassette recorder, you can record the same signal that is being output from the ST OUT jacks
The mixers ST Master Fader has no affect on the signal output from these jacks. Be sure to make appropriate level adjustments at the recording device side.

Connector Polarities

Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Sleeve Tip INPUT OUTPUT

MIC INPUT, ST OUT

LINE INPUT (monaural channels), GROUP OUT, ST OUT, C-R OUT AUX, EFFECT *

INSERT I/O

PHONES
RETURN LINE INPUT (stereo channels)
Tip: Hot Sleeve: Ground Sleeve Tip
These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.

Setup Procedure

Before connecting to microphones and instruments, be sure that all devices are turned off. Also be sure that all of the mixers channel faders and master control faders are set all the way down. For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate input jack on the mixer.
To avoid causing damage to speakers, power up the devices in the following order: Peripheral devices mixer power amps (or powered speakers).
When shutting the system down, turn off the power in the opposite order: Power amps (powered speakers) mixer peripheral devices.

Setup Examples

Home Recording
Synthesizer Effector Sound Source (CD, MD, DAT, Cassette, Video etc.)

Effector

Rhythm Machine

Guitar

Microphone

Foot Switch (YAMAHA FC5)

Powered Monitor Speakers Headphones Master Recorder (MD, CD-R, DAT, etc.) Personal Computer
Setting Up Sound Reinforcement for Live Performance
Monitor Speakers (Internal) Drums
Microphones Power Amp Effector Synthesizer Bass DI
CD, Cassette, or DAT Recorder

CD Player Effector

Power Amp Foot Switch (YAMAHA FC5) Microphones

Headphones Guitar

Main Speakers (External)
Example of Speaker Arrangement

NORWAY

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

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

OTHER EUROPEAN COUNTRIES

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

OTHER ASIAN COUNTRIES

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

EUROPE

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

AFRICA

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

OCEANIA

AUSTRALIA
Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111

GERMANY

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

MIDDLE EAST

TURKEY/CYPRUS
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

OTHER COUNTRIES

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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://www2.yamaha.co.jp/manual/english/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2004 Yamaha Corporation WC71270 408CRAP8.3-01A0 Printed in China

MG12-16_E.book Page 1 Monday, May 26, 2003 1:14 PM

MIXING CONSOLE

Owners Manual

MG16/4

MG12/4
Making the Most Of Your Mixer Pages 6 to 17
MG12-16_E.book Page 2 Monday, May 26, 2003 1:14 PM

Precautions

For safe operation

WARNING

Installation
Connect this units AC power adaptor only to an AC outlet of the type stated in this Owners Manual or as marked on the unit. Failure to do so is a re and electrical shock hazard. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. 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. Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a re and electrical shock hazard. In particular, be careful not to place heavy objects on a power cord covered by a carpet.
If lightning begins to occur, turn off the power switch of the unit as soon as possible, and unplug the power plug from the electrical outlet. If there is a possibility of lightning, do not touch the power plug if it is still connected. Doing so may be an electrical shock hazard. Use only the included AC power adaptor (PA-20) for this unit. Using other types may be a re and electrical shock hazard.
In case an abnormality occurs during operation

Operation

Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a re and electrical shock hazard. Do not remove the units cover. You could receive an electrical shock. If you think internal inspection, maintenance, or repair is necessary, contact your dealer. Do not modify the unit. Doing so is a re and electrical shock hazard.
If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a replacement. Using the unit with a damaged power cord is a re and electrical shock hazard. Should this unit and AC adaptor be dropped or the cabinet be damaged, turn the power switch off, remove the power plug from the AC outlet, and contact your dealer. If you continue using the unit without heeding this instruction, re or electrical shock may result. If you notice any abnormality, such as smoke, odor, or noise, or if a foreign object or liquid gets inside the unit, turn it off immediately. Remove the power plug from the AC outlet. Consult your dealer for repair. Using the unit in this condition is a re and electrical shock hazard.

CAUTION

Keep this unit away from the following locations: - Locations exposed to oil splashes or steam, such as near cooking stoves, humidiers, etc. - Unstable surfaces, such as a wobbly table or slope. - Locations exposed to excessive heat, such as inside a car with all the windows closed, or places that receive direct sunlight. - Locations subject to excessive humidity or dust accumulation. Hold the power plug when disconnecting it from an AC outlet. Never pull the cord. A damaged power cord is a potential re and electrical shock hazard. Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard.
To relocate the unit, turn the power switch off, remove the power plug from the AC outlet, and remove all connecting cables. Damaged cables may cause re or electrical shock.
Do not cover or wrap the AC power adaptor with a cloth or blanket. Heat may build up under the cloth or blanket, melting the case, or causing re. Use only in a well-ventilated environment. If you know you will not use this unit for a log period of time, such as when going on vacation, remove the power plug from the AC outlet. Leaving it connected is a potential re hazard.

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.
(2) 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.
(3) 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 adequate distance between the power adaptor and the mixer.
MG12-16_E.book Page 6 Monday, May 26, 2003 1:14 PM
Making the Most Of Your Mixer

An Introduction

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 rst 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.
MG12-16_E.book Page 7 Monday, May 26, 2003 1:14 PM
A Place For Everything and Everything In Its Place
1-1. A Plethora Of ConnectorsWhat Goes Where?
Questions youre likely to encounter when setting up a system for the rst time might include Why all these different types of connectors on the back of my mixer? and Whats the difference?. Lets start by taking a look at the most common connector types.
The Venerable RCA Pin Jack
This is the consumer connector, and the one that has been most commonly used on home audio gear for many years. Also known as phono jacks (short for phonogram), but the term isnt used much these daysbesides, its too easily confusable with phone jacks, below. RCA pin jacks are always unbalanced, and generally carry a line-level signal at 10 dB, nominal. Youre most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer, or when connecting the output of your mixer to a cassette recorder or similar gear.

The Versatile Phone Jack

The name phone jack arose simply because this conguration was rst used in telephone switchboards. Phone jacks can be tricky because you cant always tell what type of signal theyre designed to handle just by looking at them. It could be unbalanced mono, unbalanced stereo, balanced mono, or an insert patch point. The connectors label will usually tell you what type of signal it handles, as will the owners manual (you do keep your manuals in a safe place, dont you?). A phone jack that is set up to handle balanced signals is also often referred to as a TRS phone jack. TRS stands for Tip-Ring-Sleeve, which describes the conguration of the phone plug used.

Normal-phase signal + normal-phase noise.
Desired signal with no noise. Normal-phase signal + reverse-phase noise.
MG12-16_E.book Page 9 Monday, May 26, 2003 1:14 PM
1-3. Signal LevelsDecibel Dos and Donts
From the moment you start dealing with things audio, youll have to deal with the term decibel and its abbreviation, dB. Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you dont need to be an expert to make things work. Here are a few basics you should keep in mind:
G Consumer gear (such as home audio equipment) usually has line inputs and outputs with a nomi-
nal (average) level of 10 dB.
G Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB. G You should always feed 10 dB inputs with a 10 dB signal. If you feed a +4 dB signal into a 10 dB
input you are likely to overload the input.
G You should always feed +4 dB inputs with a +4 dB signal. A 10 dB signal is too small for a +4 dB
input, and will result in less-than-optimum performance.
G Many professional and semi-professional devices have level switches on the inputs and/or outputs
that let you select 10 or +4 dB. Be sure to set these switches to match the level of the connected equipment.
G Inputs that feature a Gain controlsuch as the mono-channel inputs on your Yamaha mixerwill
accept a very wide range of input levels because the control can be used to match the inputs sensitivity to the signal. More on this later.
MG12-16_E.book Page 10 Monday, May 26, 2003 1:14 PM
Where Your Signal Goes Once Its Inside the Box
At rst glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal ows in any mixer. Heres a greatly simplied block diagram of a generic mixer to help you become familiar with the way these things work.

4-1. AUX Buses For Monitor Sends and Overall Effects
There are a number of reasons why you might want to tap the signal owing through your mixer at some point before the main outputs: the two most common being 1) to create a monitor mix that is separate from the main mix, and 2) to process the signal via an external effect unit and then bring it back into the mix. Both of these functions, and more, can be handled by the mixers AUX (Auxiliary) buses and level controls. If the mixer has two AUX buses, then it can handle both functions at the same time. Larger mixing consoles can have 6, 8, or even more auxiliary buses to handle a variety of monitoring and processing needs. Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you need a pre-fader or postfader send. AUX sends often feature a switch that allows you to congure them for pre- or postfader operation.
Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplier and speaker system. The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No return signal is used in this case.
Channel Fader AUX Send Level

Master Fader

AUX Send Level

AUX Return Level

Post-fader send for external effects processing. The send signal is fed to the external effect unita reverb unit, for exampleand the output from the effect unit is returned to the AUX Return jack and mixed back into the main program. The send level is affected by the channel fader so the effect level always remains in proportion to the channel signal.
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4-2. Using Groups

Group buses and faders can greatly simplify the mixing processparticularly in live situations in which changes have to be made as quickly as possible. If you have a group of channels that need to be adjusted all together while maintaining their relative levels, grouping is the way to go. Simply assign the group to a group bus, and make sure that group is also assigned to the main program bus. Then you can adjust the overall level of the group using a single group fader, rather than having to attempt to control multiple channels faders simultaneously. Group buses usually also have their own outputs, so you can send the group signal to a different external destination from the main mix.
Channel faders Assigned to Group (Controlled As a Group)
A group of channels whose levels need to maintain the same relationshipa drum mix, for examplecan be assigned to a group bus. Usually the group bus signal can be output independently via Group outputs, or it can be assigned to the main program (stereo) bus to be mixed in with the main stereo program.

Group Fader

Once the mix between the channels assigned to the group is established via the channel faders, the overall level of the entire group can be conveniently adjusted via a single group fader.
Channel faders Assigned to Stereo (Controlled Individually)

Stereo Master Fader

MG12-16_E.book Page 15 Monday, May 26, 2003 1:14 PM
4-3. Channel Inserts for Channel-specic Processing
Another way to get the mixers signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually break the mixers internal signal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specic channelalthough they can be used with just about any type of in/out processor.

Channel Fader

When a plug is inserted into the channel insert jack, the internal signal path is interrupted and sent outside the mixer for external processing.
Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the split Y end. One of the mono phone jacks carries the send signal to be fed to the input of the external processor, and the other carries the return signal from the output of the processor.
To the input jack of the external processor To the INSERT I/O jack Sleeve Sleeve Ring Tip Tip
To the output jack of the external processor
MG12-16_E.book Page 16 Monday, May 26, 2003 1:14 PM

Making Better Mixes

Music FirstThen Mix
In any case, the music comes rst. Think about the music and let it guide the mix, rather than trying to do things the other way around. What is the music saying and what instrument or technique is being used to drive the message? Thats where the focus of your mix should be. Youre using a hightech tool to do the mixing, but the mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music.
5-1. Approaching the MixWhere Do You Start?
Mixing is easy, right? Just move the faders around until it sounds right? Well, you can do it that way, but a more systematic approach that is suited to the material youre mixing will produce much better results, and faster. There are no rules, and youll probably end up developing a system that works best for you. But the key is to develop a system rather than working haphazardly. Here are a few ideas to get you started:
5-2. Panning For Cleaner Mixes
Not only does the way you pan your individual channels determine where the instruments appear in the stereo sound eld, but it is also vital to give each instrument its own space so that it doesnt conict with other instruments. Unlike live sound in a real acoustic space, recorded stereo sound is basically 2-dimensional (although some types of surround sound are actually very 3-dimensional), and instruments positioned right on top of each other will often get in each others wayparticularly if they are in the same frequency range or have a similar sound.

5-4. Ambience

Judicious application of reverb and/or delay via the mixers AUX busses can really polish a mix, but too much can wash out the mix and reduce overall clarity. The way you set up your reverb sound can make a huge difference in the way it meshes with the mix.

5-3. To EQ Or Not To EQ

In general: less is better. There are many situations in which youll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better denition. Bad EQand most commonly bad boostjust sounds terrible.

Reverb/Delay Time

Different reverb/delay units offer different capabilities, but most offer some means of adjusting the reverb time. A little extra time spent matching the reverb time to the music being mixed can mean the difference between great and merely average sound. The reverb time you choose will depend to a great degree on the tempo and density of the mix at hand. Slower tempos and lower densities (i.e. sparser mixes with less sonic activity) can sound good with relatively long reverb times. But long reverb times can completely wash out a faster more active piece of music. Similar principles applies to delay.

Cut For a Cleaner Mix

For example: cymbals have a lot of energy in the mid and low frequency ranges that you dont really perceive as musical sound, but which can interfere with the clarity of other instruments in these ranges. You can basically turn the low EQ on cymbal channels all the way down without changing the way they sound in the mix. Youll hear the difference, however, in the way the mix sounds more spacious, and instruments in the lower ranges will have better denition. Surprisingly enough, piano also has an incredibly powerful low end that can benet from a bit of lowfrequency roll-off to let other instrumentsnotably drums and bassdo their jobs more effectively. Naturally you wont want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. Youll have to use your ears, though, because each instrument is different and sometimes youll want the snap of a bass guitar, for example, to come through.

Reverb Tone

How bright or bassy a reverb sound is also has a huge impact on the sound of your mix. Different reverb units offer different means of controlling thisbalance between the high- and lowfrequency reverb times, simple EQ, and others. A reverb that is too bright will not only sound unnatural, but it will probably get in the way of delicate highs you want to come through in your mix. If you nd yourself hearing more high-end reverb than mix detail, try reducing the brightness of the reverb sound. This will allow you to get full-bodied ambience without compromising clarity.

Band HIGH MID Type Shelving Peaking Shelving Base Frequency Maximum Cut/Boost 10 kHz 2.5 kHz 100 Hz 15 dB

5 AUX1 and AUX2 Controls

The AUX1 knob controls the signal level that the channel sends to the AUX1 bus; the AUX2 knob controls the signal level to the AUX2 bus. The knob should generally be set close to the position. If you are using stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX1 and AUX2 buses.
Allows you to output the signal to the buses regardless of the setting of the ST switch 8.
Note: Within this manual, all panel illustrations show the MG16/4 panel.
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6 PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX1 bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage though channel fader A) to the AUX1 bus, so that AUX1 output is not affected by the fader. If you set the switch off ( post-fader signal to the AUX1 bus. ) the mixer sends the
Note that this switch applies to AUX1 only. The signal to the AUX2 bus always passes through the channel fader rst.
7 PAN Control (MG16/4: CHs 1 to 8. MG12/4: 1 to 4.) PAN/BAL Control (MG16/4: 9/10 and 11/12. MG12/4: 5/6 and 7/8.) BAL Control (MG16/4: 13/14 and 15/16. MG12/4: 9/10 and 11/12.)
The PAN control determines the positioning of the channels signal on the Group 1 and 2 buses or on the Stereo L and R buses. The BAL control knob sets the balance between left and right channels. Signals into to the L input (odd channel) feed to the Group 1 bus or to the Stereo L bus; signals into the R input (even channel) feed to the Group 2 bus or the Stereo R bus.
On channels where this knob provides both PAN and BAL controls (9/10 and 11/12 on the MG16/4; 5/6 and 7/8 on the MG12/4), the knob operates as a PAN control if you are inputting through the MIC jack or into the L (MONO) input only, and operates as a BAL control if you are inputting into both L and R inputs.

ST Switch

This switch assigns the channels signal to the Stereo L and R buses. To send the signal to the Stereo bus, set the switch on by pressing it in ( ). The switch lights up orange to indicate that it is on.
9 PFL (Pre-Fader Listen) Switch
This switch lets you monitor the channels pre-fader signal. To set the switch on, press it in ( ) so that it lights up. When the switch is on, the mixer outputs the channels pre-fader signal to the PHONES and C-R OUT jacks, for monitoring.

0 GROUP Switch

Use this switch to assign the channels signal to the Group output. Press the switch in ( ) to output the signal to the Group 1 and 2 buses.

A Channel Fader

Adjusts the output level of the signal being input to the channel. Use these faders to adjust the volume balance among the various channels.
To reduce noise, set the fader sliders for unused channels all the way down.

MG12-16.fm

Page 20
Thursday, December 11, 2003

9:03 AM

Master Control Section

1 ST Master Fader

Adjusts the signal level to the ST OUT jacks.

2 GROUP 1-2 Fader

Adjusts the signal level to the GROUP OUT 1 and GROUP OUT 2 jacks.

3 TO ST Switch

If this switch is on ( ), the mixer sends the signals processed by the GROUP 1-2 fader (2) onto the Stereo bus. The Group 1 signal goes to Stereo L and the Group 2 signal goes to Stereo R.
4 Master SEND (AUX1 and AUX2 Controls)
Adjust the signal level, respectively. These are the signals that are output to the AUX1 and AUX2 SEND jacks.
5 RETURN (AUX1, AUX2, and ST Controls)
AUX1 and AUX2 Controls Adjust the level of the mixed L/R signal sent from the RETURN jacks (L (MONO) and R) to the AUX1 and AUX2 buses. ST Control Adjust the level of the signal sent from the RETURN jacks (L (MONO) and R) to the Stereo bus.
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.

6 2TR IN Control

Adjusts the level of the signal sent from the 2TR IN jack to the Stereo bus.

7 PHANTOM +48 V Switch

This switch toggles phantom power on and off. If you set the switch on, the mixer supplies power to all channels that provide XLR mic input jacks (CHs 18, 9/10, 11/12 on MG16/4, 14, 5/6, 7/8 on MG12/4). Set this switch on when using one or more condenser microphones.
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 when you are not using phantom power. Humming or damage may result if you connect to an unbalanced device or to an ungrounded transformer while this switch is on. But note 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.

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8 Level-Meter Signal Switches (ST-GROUP Toggle Switch and 2TR IN Switch)
These level-meter switches, together with the channel PFL switches, select the signal that is sent through the C-R/PHONES control to the C-R OUT jacks, the PHONES jack, and the level meter. The following illustration shows how the switch settings correspond to the signal selection.

Switch Signal

PFL ON

2TR IN ST-GROUP

2TR IN OFF

ON C-R OUT & PHONES

ON OFF OFF
If the input channels PFL switch is on ( ), then only the channels PFL output it sent to the C-R OUT jacks, PHONES jacks, and level meter. If the 2TR IN switch is ON ( ), the signal supplied to the 2TR IN jack is sent to the C-R OUT jacks, PHONE jacks, and level meter. If the 2TR IN switch is OFF, then the Group or Stereo signal is sent instead (as determined by the ST-GROUP toggle switch).

9 C-R/PHONES Control

Controls the level of the signal output to the PHONES jack and the C-R L and R jacks.

0 Level Meter

This LED display shows the level of the signal selected by the selection switches described in 8 above (the level to the C-R OUT and PHONES jacks). The 0 point corresponds to the standard output level. The indicator lights up red when the output hits the clipping level.

A POWER Indicator

This indicator lights up when the mixers power is ON.

B PHONES jack

Connector for headphones. This is a stereo phone-type output jack.
The signal monitored by these jacks is selected by the settings of the ST-GROUP toggle switch, the 2TR IN switch, and the PFL switches on the input channels.
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Rear Input/Output Section

3 Channel Input jacks

These are unbalanced stereo line input jacks. Two jack types are provided: phone type (MG16/4: CHs 9/10 to 15/16; MG12/4: CHs 5/6 to 11/12) and RCA pin type (MG16/4: CHs 13/14, 15/16; MG12/4: CHs 9/10, 11/12).
Where a channel provides both a phone jack and an RCA pin jack, 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.

1 Channel Input jacks

MIC jacks (MG16/4: CHs 1 to 8, 9/10, 11/12. MG12/4: CHs 1 to 4, 5/6, 7/8) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). LINE jacks (MG16/4: CHs 1 to 8. MG12/4: CHs 1 to 4) These are balanced TRS phone-type line input jacks (T: Hot; R: Cold; S: Ground). You can connect either balanced or unbalanced phone plugs to these jacks.

0 2TR IN Jacks

These RCA pin jacks input a stereo sound source. Use these jacks when you want to connect a CD or DAT directly to the mixer for monitoring.
You can adjust the signal level using the 2TR IN control in the Master Control section.

A POWER Switch

Use this switch to set mixer power to ON or STANDBY.
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, be sure to unplug the adaptor from the wall outlet.

9 REC OUT (L, R) Jacks

By connecting these jacks to an external DAT recorder or cassette recorder, you can record the same signal that is being output from the ST OUT jacks.
The mixers ST Master Fader has no affect on the signal output from these jacks. Be sure to make appropriate level adjustments at the recording device side.
B AC ADAPTOR IN Connector
Connects to the included PA-20 power adaptor (see page 5).
Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in re or electric shock.

Connector Polarities

INPUT OUTPUT

MIC INPUT, ST OUT

Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground

Sleeve Tip

LINE INPUT (monaural channels), GROUP OUT, ST OUT, C-R OUT AUX1, AUX2 *

INSERT I/O

PHONES
Tip: L Ring: R Sleeve: Ground
RETURN LINE INPUT (stereo channels)

Tip: Hot Sleeve: Ground

* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.
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Setting Up

Setup Procedure
(1) Before connecting to microphones and instruments, be sure that all devices are turned off. Also be sure that all of the mixers channel faders and master control faders are set all the way down. (2) For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer. (LINE jacks on MG16/4: CHs 1 to 8; on MG12/4: 1 to 4. MIC jacks on MG16/4: CHs 1 to 8, 9/10, 11/12; on MG12/4: 1 to 4, 5/6.)

(3) To avoid causing damage to speakers, power up the devices in the following order: Peripheral devices mixer power amps (or powered speakers).
When shutting the system down, turn off the power in the opposite order: Power amps (powered speakers) mixer peripheral devices.

Setup Examples

I Home Recording

Effector

Rhythm Machine

Synthesizer

Guitar
Sound Source (CD, MD, DAT, cassette, video, etc.)

Microphone

Powered Monitor Speakers Headphones Personal Computer Master Recorder (MD, CD-R, DAT, etc.) MTR
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I Sound Reinforcement for Live Performance
Monitor Speakers (Internal) Drums

Power Amp

Effector Microphones
CD, Cassette, or DAT Recorder ( )

DI Bass

CD Player Effector DI Guitar

Microphones

Headphones
Main Speakers (External) Example of Speaker Arrangement

Stage (Internal)

AUX 1 (PRE ) ST Audience (External) ST
MG12-16_E.book Page 26 Monday, May 26, 2003 1:14 PM

Rack Mounting

I Mounting the MG16/4
(1) Two metal rack-mount supports are screwed onto the unit. Use a screwdriver to remove these supports.

I Mounting the MG12/4

(2) Turn the supports over, and fasten them into place again using the same screws.
(3) Mount the unit into the rack, and fasten it into place.
If you wish you may move the left support to the right side and the right support to the left side, as shown in the drawing.
Do not install the mixer near power amps or other heat-generating devices.
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Appendix

Specications

I General Specications

Frequency Characteristics (ST OUT) Total Harmonic Distortion (ST OUT) 20 Hz20 kHz +1 dB, 3 dB @+4 dBu, 600 (with gain control at minimum level) 0.1 % (THD+N) @+14 dBu, 20 Hz20 kHz, 600 (with gain control at maximum level) (MG16/4 CH1-8, MG12/4 CH1-4) Equivalent input noise 150 (MG16/4: CHs 1 to 8, 128 dBu MG12/4: CHs 1 to 4) 100 dBu Residual output noise (ST OUT) ST, GROUP Master fader at nominal level and all Ch 88 dBu (92 dB S/N) assign SWs off. AUX master control at nominal level; all channel mix 81 dBu (85 dB S/N) controls at minimum level. ST, GROUP Master fader and one Ch fader at nominal 64 dBu (68 dB S/N) level. (MG16/4 CH18, MG12/4 CH14) 60 dB CH MIC INPUT CH INSERT OUT 84 dB CH MIC INPUT GROUP OUT/ST OUT (CH to ST) 94 dB CH MIC INPUT ST OUT (GROUP to ST) 62.2 dB CH MIC INPUT REC OUT (CH to ST) 76 dB CH MIC INPUT AUX SEND (PRE) 86 dB CH MIC INPUT AUX SEND (POST) 58 dB CH LINE INPUT GROUP OUT/ST OUT (CH to ST) 84 dB ST CH MIC INPUT GROUP OUT/ST OUT (CH to ST) 58 dB ST CH LINE INPUT GROUP OUT/ST OUT (ST CH to ST) 47 dB ST CH LINE INPUT AUX SEND (PRE) 57 dB ST CH LINE INPUT AUX SEND (POST) 34 dB ST CH INPUT GROUP OUT/ST OUT (ST CH to ST) 16 dB RETURN ST OUT 9 dB RETURN AUX SEND 27.8 dB 2TR INPUT ST OUT 44 dB variable 80 Hz 12 dB/octave 70 dB between input channels 70 dB between input/output channels (CH INPUT) 15 dB HIGH 10 kHz shelving MID 2.5 kHz peaking LOW 100 Hz shelving On each channel: red indicator lights if post-EQ signal (on ST channels, if either post-EQ signal or post-mic-amp signal) comes within 3 dB of the clipping level. Two 12-point LED meters Peak point: red indicator +5, +3, +1, and 0 points: yellow indicators 1, 3, 5, 7, 10, 15, 20: green indicators Supplied when Phantom +48 V switch is ON. Power adaptor (PA-20) USA and Canada: 120 V AC, 60 Hz Europe: 230 V AC, 50 Hz Australia: 240 V AC, 50 Hz Korea: 220 V AC, 60 Hz MG16/4: 36 W MG12/4: 29 W MG16/4: 416.6 mm MG12/4: 416.6 mm MG16/4: 5.2 kg MG12/4: 5.0 kg

Hum and Noise1

Maximum Voltage Gain2
Monaural/Stereo Input Gain Control Monaural/Stereo High Pass Filter Crosstalk (1 kHz) Monaural/Stereo Input Channel Equalization: Max. Variation3 Monaural/Stereo Input Peak Indicator
Level Meters Phantom +48 VDC Power (Balanced input) Included Accessory Power Supply Power Consumption Max. Dimensions (W H D) Weight Where 0 dBu = 0.775 V and 0 dBV = 1 V
Measured with 12.7 kHz, 6 dB/oct. low pass lter (equivalent to 20 kHz, lter). (CH MIC INPUT to ST, GROUP OUT/AUX, EFFECT SEND) Turning PAN/BAL to left or right. Shelving turnover/rolloff frequency: 3 dB before maximum cut or boost.
MG12-16_E.book Page 28 Monday, May 26, 2003 1:14 PM

I Input Specications

Input Connector Gain k 10 k +3 k 10 k +line 10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) 50600 mic 36 dBu (12.3 mV) 54 dBu (1.55 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) 10 dBu (245 mV) 14 dBu (155 mV) Phone jack (unbalanced) 600 line 10 dBu (245 mV) 80 dBu (0.078 mV) +10 dBu (2.45 V) 60 dBu (0.775 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) XLR-3-31 type (balanced) 50600 mic 36 dBu (12.3 mV) 54 dBu (1.55 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +4 dBu (1.23 V) 14 dBu (155 mV) Phone jack (TRS) (balanced [T: hot; R: cold; S: ground]) Input Appropriate Impedance Impedance Sensitivity* 80 dBu (0.078 mV) Rated Level 60 dBu (0.775 mV) Max. Before Clipping 40 dBu (7.75 mV) XLR-3-31 type (balanced) Connector Specications
MIC INPUT (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4)
LINE INPUT (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4)
ST CH MIC INPUT (MG16/4: CH9(L)/CH10(R), CH11(L)/CH12(R)) (MG12/4: CH5(L)/CH6(R), CH7(L)/CH8(R)) ST CH LINE INPUT (MG16/4: CH9(L)/CH10(R), CH11(L)/CH12(R)) (MG12/4: CH5(L)/CH6(R), CH7(L)/CH8(R)) ST CH INPUT (MG16/4: CH13(L)/CH14(R), CH15(L)/CH16(R)) (MG12/4: CH9(L)/CH10(R), CH11(L)/CH12(R)) CH INSERT IN (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4) RETURN (L, R) 2TR IN (L, R)

600 line

30 dBu (24.5 mV)

10 dBu (245 mV)

+10 dBu (2.45 V)
Phone jack (unbalanced); RCA pin jack
20 dBu (77.5 mV) 12 dBu (195 mV) 26 dBV (50.1 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)
Phone jack (TRS) (unbalanced [T: out; R: in; S: ground]) Phone jack (TRS) (unbalanced [T: hot; S: ground]) RCA pin jack

10 k 10 k

600 line 600 line
Where 0 dBu = 0.775 V and 0 dBV= 1 V * Input sensitivity: the lowest level that will produce the nominal output level when the unit is set to maximum gain.

I Output Specications

Output Connectors Output Impedance 150 Appropriate Impedance 600 line Rated Level Max. Before Clipping Connector Specications

ST OUT (L, R)

+4 dBu (1.23 V)