MG124CX/MG124C Owners Manual

PRECAUTIONS

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

WARNING

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

Power supply/Power cord

Only use the voltage specied as correct for the device. The required voltage is printed on the name plate of the device. Use only the specied AC power adaptor (PA-20) or an equivalent recommended by Yamaha). If you intend to use the device in an area other than in the one you purchased, the included power cord may not be compatible. Please check with your Yamaha dealer. Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Water warning

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

Do not open

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

CAUTION

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

Connections

Before connecting the device to other devices, turn off the power for all devices. Before turning the power on or off for all devices, set all volume levels to minimum.

Location

Before moving the device, remove all connected cables. When setting up the device, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. Avoid setting all equalizer controls and faders to their maximum. Depending on the condition of the connected devices, doing so may cause feedback and may damage the speakers. Do not expose the device to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disguration or damage to the internal components. Do not place the device in an unstable position where it might accidentally fall over.

Handling caution

When turning on the AC power in your audio system, always turn on the power amplier LAST, to avoid speaker damage. When turning the power off, the power amplier should be turned off FIRST for the same reason. Do not insert your ngers or hands in any gaps or openings on the device. Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the device inspected by qualied Yamaha service personnel. Do not use the device or headphones for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. Do not rest your weight on the device or place heavy objects on it, and avoid use excessive force on the buttons, switches or connectors.

Microphones, instruments Speakers

2 2, 4

Power Amp

Monitor Speakers

GAIN controls

Headphones

PEAK indicators Equalizer

PHANTOM switch

Level meter

ON switches

PFL switches

ST switches

1, 6, 7

STEREO OUT Master fader

Channel faders

GROUP 1-2 fader

POWER switch

Mixer Basics Quick Guide

Be sure that your mixer is turned off and that all level* controls are turned all the way down.
* STEREO OUT Master Fader, Channel Fader, GROUP 1-2 Fader, Gain Control, etc.
Turn on the ON and ST switches for each channel you are using. Set the STEREO OUT Master fader to the 0 position. Set the Channel faders to create the desired initial balance, then adjust the overall volume using the STEREO OUT Master fader. NOTE
* To use the LEVEL meter to view the level being applied to the STEREO L/R buses, set the PFL switch off ( ) and the MONITOR switch to STEREO ( ). * If the PEAK indicator lights frequently, lower the Channel faders a little to avoid distortion.
Set the equalizer and the pan controls to their t positions.
Turn off any other external devices, then connect microphones, instruments, and speakers. NOTE
* For information on connecting external devices see the Connection Example on page 11. * Connect electric guitars and basses through an intermediary device such as a direct box, preamp, or amp simulator. Connecting these instruments directly to the MG mixer may result in degraded sound and noise.
To avoid damage to your speakers, power up the devices in the following order: Peripheral devices MG mixer power amps (or powered speakers). Reverse this order when turning power off. NOTE
If you are using microphones that require phantom power, turn the MG mixers phantom power switch on before turning on the power to the power amp or powered speakers. See page 15 for more detail.
Adjust the channel GAIN controls so that the corresponding peak indicators ash briey on the highest peak levels. NOTE
To use the LEVEL meter to get an accurate reading of the incoming signal level, turn the channel PFL switch on. Adjust the GAIN controls so that the LEVEL meter indication occasionally rises above the t (0) level. Note that the PHONES jack outputs the pre-fader signal from all channels on which the PFL switch is ON so that those signals can be monitored via the headphones.

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

To summarize

Microphones: Short line-level runs:

Noise-free signal

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

Long line-level runs:

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

Mixer Basics Making the Most of Your Mixer

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 definition. Bad EQand most commonly bad boostjust sounds terrible.

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 definition. Surprisingly enough, piano also has an incredibly powerful low end that can benefit from a bit of low-frequency roll-off to let other instruments notably 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.
The fundamental and harmonic musical instruments.
Piano Bass Drum Snare Drum Bass Guitar Trombone Trumpet 500 1k 2k 5k 10 k 20 k (Hz)

frequency ranges of some

Cymbal
Fundamental: The frequency that determines the basic musical pitch. Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument.
Some Frequency Facts The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the A3 key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e. A4 on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce A2 an octave lower.

Boost with Caution

If youre trying to create special or unusual effects, go ahead and boost away as much as you like. But if youre just trying to achieve a goodsounding mix, boost only in very small increments. A tiny boost in the midrange can give vocals more presence, or a touch of high boost can give certain instruments more air. Listen, and if things dont sound clear and clean try using cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity. One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise and potentially overloading the subsequent circuitry.

MID Boost LOW Boost MID Flat HIGH Boost

Signal Level (dB)

LOW Flat

HIGH Flat

LOW Cut MID Cut Frequency (Hz)

HIGH Cut

Ambience
Your mixes can be further refined by adding ambience effects such as reverb or delay. The MGs internal effects can be used to add reverb or delay to individual channels in the same way as external effects processors. (Refer to page 16).

Reverb and Delay Time

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

Compression

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

Reverb Tone

Different reverb programs will have different reverb tone due to differences in the reverb time of the high or low frequencies. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. Its always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix.

Reverb Level

Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly fine. To avoid falling into this trap start with reverb level all the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a special effect.

The Modulation Effects:

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

(Min) (Max)

Reference

Guitar

Powered Speakers Synthesizer Bass Foot Switch (YAMAHA FC5)

Recorder

Microphone

CD Player DI

Effect Processor (exciter)
Effect Processor Headphones

Powered Monitor Speaker

Powered Monitor Speakers

MG124CX

Front & Rear Panels
The following applies to both the MG124CX and MG124C. In cases where different features need to be described for each model, the MG124CX feature will be described first, followed by the MG124C feature in brackets: MG124CX (MG124C).

Channel Control Section

1 MIC Input Jacks (CHs 1 to 4, 5/6, 7/8)
Channels 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Channels 9/10 and 11/12 (Stereo)
These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold).
2 LINE Input Jacks (CHs 1 to 4)
These are balanced TRS phone-jack line inputs (T:Hot; R:Cold; S:Ground). You can connect either balanced or unbalanced phone plugs to these jacks.
3 LINE Input Jacks (CHs 5/6 to 11/12)
These are unbalanced phone-jack stereo line inputs.
4 LINE Input Jacks (CHs 9/10, 11/12)
These are unbalanced stereo RCA pin jacks.

G 1-2 Switch

This switch assigns the channels signal to the Group 1 and 2 buses.
To send the signal to the Group buses engage the ON switch ( ).

A AUX (AUX1) Control

Adjusts the level of the signal sent from the channel to the AUX (AUX1) bus. The knob should generally be set close to the t position. On stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX (AUX1) bus.

H ST Switch

This switch assigns the channels signal to the Stereo L and R buses.
To send the signal to the Stereo buses engage the ON switch ( ).
To send the signal to the buses set the ON switch to on ( ).

I Channel Fader

Adjusts the level of the channel signal. Use these faders to adjust the balance between the various channels.

B AUX PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX (AUX1) bus. If the switch is on ( ), the mixer sends the pre-fader signal (the signal immediately prior to the Channel fader I) to the AUX (AUX1) bus, so that AUX (AUX1) output is not affected by the fader. If the switch is off ( ) the mixer sends the post-fader signal to the AUX (AUX1) bus.
Set the fader sliders for unused channels all the way down to minimize noise.

Master Control Section

1 2TR IN Jacks
These RCA pin jacks can be used to input a stereo sound source. Use these jacks when you want to connect a CD player directly to the mixer.
You can adjust the signal level using the 2TR IN control in the Master Control section.

2 REC OUT (L, R) Jacks

These RCA pin jacks can be connected to an external recorder such as an MD recorder in order to record the same signal that is being output via the STEREO OUT jacks.
The mixers STEREO OUT Master Fader has no affect on the signal output via these jacks. Be sure to make appropriate level adjustments at the recording device.
3 RETURN L (MONO), R Jacks
These are unbalanced phone-jack type line inputs. The signal received by these jacks is sent to the STEREO L/R buses and the AUX (AUX1) bus. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.).
These jacks can also be used as an auxiliary stereo input. If you connect to the L (MONO) jack only, the mixer will recognize the signal as monaural and will send the identical signal to both the L and R jacks.

4 SEND Jacks

AUX (AUX1)
This is an impedance balanced* phone-jack type output. This jack outputs the signals from AUX (AUX1) bus. You can use this jack, for example, to connect to an effect unit, cue box, or other monitoring system.

MONITOR Control

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

E 2TR IN

2TR IN Switch
If this switch is set to TO MONITOR ( ), the signals input via the 2TR IN jacks are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R buses.
Be sure to leave this switch off ( ) if you do not need phantom power. When tuning the switch on ( ), be sure that only condenser mics are connected to the XLR input jacks (CHs: 1 to 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 when connecting to balanced dynamic microphones. To avoid damage to speakers, be sure to turn off ampliers (or powered speakers) before turning this switch on or off. We also recommend that you turn all output controls (STEREO OUT Master Fader, GROUP 1-2 Fader, etc.) to their minimum settings before operating the switch to avoid the risk of loud noises that could cause hearing loss or device damage.

2TR IN control

Adjusts the level of the signal sent from the 2TR IN jacks to the STEREO L/R buses. The following illustration shows how the switch settings correspond to the signal selection.
Switches MONITOR/ PHONES Signals output via the MONITOR/PHONES jacks PFL STEREO (+ 2TR IN)

PFL ON

2TR IN TO STEREO
STEREO OFF GROUP TO MONITOR STEREO + 2TR IN * TO STEREO GROUP

0 RETURN

AUX (AUX1) Control
Adjusts the level at which the L/R signal received at the RETURN jacks (L (MONO) and R) is sent to the AUX (AUX2) bus.
TO MONITOR GROUP (+ 2TR IN)

STEREO Control

Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R buses.
: When overdubbing, you can adjust the levels of the monitor playback signal and the signal being recorded separately.

MONITOR MIX Signal Flow

2TR IN Playback signal Recording signal 2TR IN Control MONITOR/PHONES Controls STEREO buses STEREO OUT Master Fader REC OUT NOTE MONITOR/ PHONES jacks
If you supply a signal to the RETURN L (MONO) jack only, the mixer sends the same signal to both the L and R Stereo buses.

A Master SEND

Master AUX (AUX1) Control
Adjusts the signal level sent to the AUX (AUX1) SEND jack.
Master EFFECT (AUX2) Control
Adjusts the level of the signal sent to the EFFECT (AUX2) bus.
If you are using the MG124CX, the Master EFFECT control does not affect the level of the signal sent from the EFFECT bus to the internal digital effect processor.

6 PFL Switch

Turn this switch on to send the effect signal to the PFL bus.

7 EFFECT RTN Fader

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

1 POWER Switch

Use this switch to turn the mixers power ON or to STANDBY mode.
Note that a small current continues to ow while the switch is in the STANDBY position. If you do not plan to use the mixer for a while, be sure to unplug the AC adaptor from the wall outlet.
2 AC ADAPTOR IN Connector
Connect the supplied PA-20 power adaptor to this connector (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.
Digital Effect Program List
No Program REVERB HALL 1 REVERB HALL 2 REVERB ROOM 1 REVERB ROOM 2 REVERB STAGE 1 REVERB STAGE 2 REVERB PLATE DRUM AMBIENCE KARAOKE ECHO VOCAL ECHO CHORUS 1 CHORUS 2 FLANGER Parameter REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME DELAY TIME DELAY TIME LFO Frequency LFO Frequency LFO Frequency Description Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Reverb simulating a large stage. Simulation of a metal-plate reverb unit, producing a more hard-edged sound. A short reverb that is ideal for use with kick drum. Echo designed for karaoke (sing-along) applications. Echo suitable for vocals. Creates a thick sound by modulating the delay time. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. A sweeping pitched effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Phase modulation produces a cyclical phasing effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. A wah-wah effect with cyclical lter modulation. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Adds a sharp-edged distortion to the sound.

PHASER

LFO Frequency

AUTO WAH DISTORTION

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

Jack List

Input and Output Jacks MIC INPUT, STEREO OUT Polarities Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Congurations INPUT OUTPUT
LINE INPUT(CH1 to 4) GROUP OUT, STEREO OUT, MONITOR OUT, AUX (AUX1), EFFECT (AUX2)* INSERT
Tip: Hot (+) Ring: Cold () Sleeve: Ground Ring Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Tip: Hot Sleeve: Ground Sleeve Tip

PHONES

RETURN LINE INPUT (CH5/6 to 11/12)

Sleeve

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

Troubleshooting

Power doesnt come
Is the supplied power adaptor properly plugged into an appropriate AC wall outlet? Is the supplied power adaptor properly plugged into the mixer? Are microphones, external devices, and speakers connected correctly? Are the ON switch and ST switch of the channels you are using turned ON? Are the channel GAIN controls, Channel fader, STEREO OUT master fader and GROUP 1-2 fader set to appropriate levels? Are the MONITOR switch and 2TR IN switch set properly? Are your speaker cables connected properly, or are they shorted? If the above checks do not identify the problem, call Yamaha for service. (Refer to the page 71 for a list of service centers.) Are the channel GAIN controls, Channel fader, STEREO OUT master fader and GROUP 1-2 fader set to appropriate levels? Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA pin jacks on one channel? Please connect to only one of these jacks on each channel. Is the input signal from the connected device set to an appropriate level? Are you applying the effects at an appropriate level? Are microphones connected to the MIC input jacks on channels 1 to 7/8? If you are using condenser microphones, is the PHANTOM +48 V switch turned ON? Check that the EFFECT control on each channel is correctly adjusted. Be sure that the internal effect units ON switch is turned ON. Be sure that the EFFECT PARAMETER control and EFFECT RTN fader are correctly adjusted. Be sure that the switches are ON. Adjust the equalizers (HIGH, MID and LOW) on each channel.

No sound.

Sound is faint, distorted, or noisy.

No effect is applied.

(If you are using MG124CX)

I want spoken words

to be heard more clearly.

I want to output a

monitor signal through speakers.
Connect a powered speaker to the AUX (AUX1) jack* and turn the PRE switch on each channel ON. Then adjust the output signal by using the AUX (AUX1) controls on each channel and the Master SEND control.
* The MG124CX feature is described rst, followed by the MG124C feature in brackets: MG124CX (MG124C).

Specications

Electrical Specications
MIN Frequency Response STEREO OUT GROUP OUT EFFECT/AUX (AUX1, 2*) SEND MONITOR OUT, REC OUT STEREO OUT GAIN: min (CHs 1-7/8) 20 Hz-20 kHz Nominal output level @1 kHz Input: CHs 1 to 11/12, RETURN, 2TR IN TYP MAX

2TR IN

EFFECT RETURN

LO [10dBu] BA [0dBu]

FOOT SW EFFECT ON/OFF PROGRAM (1-16)

PARAMETER AUX

[14dBu]

DIGITAL EFFECT (DSP) PFL

ON YE +15V
MODEL MG124CX MONITOR MIX MG124C
FUNCTION NAME AUX AUX1 EFFECT AUX2

only MG124CX

+30dBu Clip Level RETURN [+4dBu] CH AUX *1 [Nominal:6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level GROUP OUT [+4dBu] Clip Level STEREO OUT [+4dBu] MONITOR OUT [+4dBu] RETURN 2TR IN [Nominal:6dB] AUX SEND *1 [Nominal:6dB] REC OUT [7.8dBu] GROUP Fader [Nominal:10dB] STEREO Master [Nominal:10dB] PHONES [3mW @ 40ohms] MONITOR/PHONES [Nominal:16dB] Clip Level
+30dBu +20dBu +10dBu 0dBu 10dBu 20dBu 30dBu

+20dBu

Clip Level

+10dBu

CH IN LINE Gain:Min [+10dBu]
ST CH IN LINE Gain:Min [+10dBu]
0dBu 2TR IN [10dBV] CH Level [7.8dBu] ST CH Level [Nominal:10dB]
CH IN MIC Gain:Min [16dBu]
ST CH IN MIC Gain:Min [16dBu]

ST CH IN [10dBu]

CH IN LINE Gain:Max [34dBu]
ST CH IN LINE Gain:Max [34dBu]
EFFECT RETURN [Nominal:10dB] ST CH AUX *1 DSP AUX [Nominal:6dB]
CH IN MIC Gain:Max [60dBu]
ST CH IN MIC Gain:Max [60dBu]
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de dtails sur les produits, veuillez-vous adresser Yamaha ou au distributeur le plus proche de vous gurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefhrten Niederlassung und bei Yamaha Vertragshndlern in den jeweiligen Bestimmungslndern erhltlich. Para detalles sobre productos, contacte su tienda Yamaha ms cercana o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA
Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311

POLAND

Yamaha Music Central Europe GmbH Sp.z. o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57

NORWAY

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

EUROPE

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

OTHER ASIAN COUNTRIES

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

OTHER EUROPEAN COUNTRIES

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

GERMANY

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

OCEANIA AFRICA

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

AUSTRALIA

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

AUSTRIA

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

MIDDLE EAST

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

OTHER COUNTRIES

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

HEAD OFFICE

Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441
Yamaha Pro Audio global web site: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2006 Yamaha Corporation WH63190 608POAP3.3-01A0 Printed in China

MIXING CONSOLE MIXING CONSOLE
Owners Manual Bedienungsanleitung Mode demploi Manual de instrucciones

Features

Input Channels..page 12 With up to six mic/line inputs or up to four stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression...page 10 Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. AUX Sends and Stereo AUX Return..page 14 You can use the AUX SEND jack to feed the signal sent to an external signal processor, and then return the processed stereo signal through the RETURN jack. High-quality digital effects (MG124CX)..page 16, 17 With digital effects built in, the MG124CX can deliver a wide range of sound variations all by itself.

Caractristiques

Canaux dentre...page 44 Avec six entres micro/ligne ou quatre entres stro maximum, la console de mixage MG peut connecter simultanment une grande varit dappareils : micros, appareils de ligne, synthtiseurs stro, etc. Compression...page 42 La compression augmente le niveau gnral sans engendrer de distorsion en comprimant les pics excessifs des signaux des micros et des guitares. Envois AUX et retour AUX stro..page 46 Vous pouvez utiliser la prise jack AUX SEND pour envoyer le signal vers une unit de traitement de signaux externes, puis pour renvoyer le signal stro trait via la prise jack RETURN. Effets numriques de qualit suprieure (MG124CX).page 48, 49 Grce aux effets numriques intgrs, la console MG124CX peut proposer de nombreuses variations de sons.

Funktionen

Eingangskanle..Seite 28 Mit bis zu sechs Mikrofon-/Line-Eingngen oder bis zu vier Stereoeingngen knnen viele Gerte gleichzeitig am MGMischpult angeschlossen werden: Mikrofone, Gerte mit Leitungspegel, Stereo-Synthesizer uvm. Kompression...Seite 26 Kompression erhht den Durchschnittspegel, ohne Verzerrung hinzuzufgen, indem bermige Pegelspitzen der Signale von Mikrofonen oder Gitarren komprimiert werden. AUX Sends und Stereo AUX Return..Seite 30 Von der AUX SEND-Buchse knnen Sie das Signal einzeln an einen externen Signalprozessor fhren, und das verarbeitete Stereosignal ber die RETURN-Buchse zurck in das Pult fhren. Hochwertige Digitaleffekte (MG124CX).Seite 32, 33 Mit den eingebauten digitalen Effekten kann das MG124CX aus sich heraus eine Reihe von Klangvariationen liefern.

Caractersticas

Canales de entrada..pgina 60 Con un mximo de seis entradas de micrfono/lnea o cuatro entradas estereofnicas, la mezcladora MG puede conectarse simultneamente con una gran variedad de dispositivos: micrfonos, dispositivos de nivel de lnea, sintetizadores estereofnicos, etc. Compresin..pgina 58 La compresin aumenta el nivel general sin causar distorsin, mediante la compresin del exceso de picos en las seales de los micrfonos y guitarras. Envos AUX y retorno AUX estereofnico.pgina 62 Puede utilizar la toma AUX SEND para introducir la seal enviada en un procesador de seales externo y luego devolver la seal estereofnica procesada a travs de la toma RETURN (retorno). Efectos digitales de alta calidad (MG124CX).page 64, 65 Gracias a sus efectos digitales incorporados, la mezcladora MG124CX puede producir por s misma una amplia gama de variaciones de sonido.

EN DE FR ES

IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: 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. Making sure that neither core is connected to the earth terminal of the three pin plug.
This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires)

FCC INFORMATION (U.S.A.)

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

I No hay sonido.

I El sonido es dbil,

distorsionado o ruidoso.

I No se aplica ningn
efecto. (Si utiliza la MG124CX)
I Deseo que las palabras habladas se oigan con mayor claridad.

I Deseo emitir una

seal de monitor a travs de los altavoces.
Conecte un altavoz autoalimentado a la toma AUX (AUX1)* y site el interruptor PRE de cada canal en la posicin ON. Seguidamente ajuste la seal de salida con los controles AUX (AUX1) de cada canal y el control general SEND.
* Las funciones de la MG124CX se describen primero, seguidas por las funciones de la MG124C entre parntesis: MG124CX (MG124C).

Reference

Specications

Electrical Specications

MIN Frequency Response STEREO OUT GROUP OUT EFFECT/AUX (AUX1, 2*) SEND MONITOR OUT, REC OUT STEREO OUT GAIN: min (CHs 1-7/8) 20 Hz-20 kHz Nominal output level @1 kHz Input: CHs 1 to 11/12, RETURN, 2TR IN TYP MAX
Total Harmonic Distortion (THD + N) Hum & Noise Hum & Noise are measured with a 6 dB/octave lter @ 12.7 kHz; equivalent to a 20 kHz lter with innite dB/octave attenuation.
+14 dBu @ 20 Hz-20 kHz, Input GAIN Control at minimum CH INPUT 1-4 MIC EIN (Equivalent Input Noise): Rs = 150 , GAIN: maximum STEREO OUT STEREO OUT, GROUP Master fader at nominal GROUP OUT level and all channels ST and 1-2 switches off. EFFECT/AUX Master EFFECT/AUX (AUX1, 2) control at nominal level (AUX1, 2*) SEND and all CH EFFECT/AUX (AUX1, 2) controls at minimum. STEREO OUT STEREO OUT, GROUP Master fader and one CH GROUP OUT fader at nominal level. Residual Output Noise CHs 1-4 STEREO L/R, CHs 1-4, PAN: panned hard left or right MIC to CH INSERT OUT MIC to STEREO OUT MIC to GROUP OUT MIC to GROUP to ST MIC to REC OUT MIC to MONITOR OUT, ST TO MONITOR MIC to PHONES OUT MIC to AUX (AUX1*) SEND PRE MIC to AUX (AUX1*) SEND POST, EFFECT (AUX2*) SEND CH 5/6, 7/8 LINE to STEREO OUT CH 5/6, 7/8 LINE to GROUP OUT CH 5/6, 7/8 AUX (AUX1*) SEND PRE CH 5/6, 7/8 LINE to AUX (AUX1*) SEND POST, EFFECT (AUX2*) SEND CH 9/10, 11/12 to STEREO OUT CH 9/10, 11/12 to GROUP OUT Rs = 150 RETURN to STEREO OUT RETURN to EFFECT (AUX2*) SEND Rs = 600 2TR IN to STEREO OUT MIC no load

0.94 62.86

Crosstalk (1 kHz) Maximum voltage gain (1 kHz) All faders and controls are maximum when measured. PAN/BAL: panned hard left or hard right
STEREO OUT Adjacent Input Input to Output Rs = 150 INPUT GAIN: maximum

dB 27.8 48

Phantom Voltage

General Specications

Input HPF Input equalization 15 dB maximum Turn over/roll-off frequency of shelving: 3 dB blow maximum variable level. PEAK Indicator Internal Digital Effect* LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight CHs 1-7/8, 80 Hz, 12 dB/oct CHs 1-7/8 HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) CH 9/10-11/12 HIGH: 10 kHz (shelving) LOW: 100 Hz (shelving) Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for CHs 5/6, 7/8) reaches 3 dB below clipping (+17 dBu). 16 PROGRAM, PARAMETER control Foot Switch (Digital Effect On/Off) Pre MONITOR Level 2x12 points LED meter (PEAK, +10, +6, +3, 0, 3, 6, 10, 15, 20, 25, 30 dB) PEAK lights if the signal level reaches 3 dB below the clipping level. PA-20 AC 35 VCT, 0.94 A, Cable Length = 3.6 m 30 W 346.2 mm x 86.1 mm x 436.6 mm 3.2 kg (MG124CX), 3 kg (MG124C)

All faders are nominal if not specied. Output impedance of signal generator: 150 ohms * The MG124CX feature is described rst, followed by the MG124C feature in brackets: MG124CX (MG124C) MG124CX/MG124C Owners Manual

Reference Specifications

Input Specications

Input Connectors

CH INPUT MIC (CHs 1-4) CH INPUT LINE (CHs 1-4) ST CH MIC INPUT (CHs 5/6, 7/8) ST CH LINE INPUT (CHs 5/6, 7/8) ST CH INPUT (CHs 9/10, 11/12) CH INSERT IN (CHs 1-4) RETURN (L, R) Gain 60 dB 16 dB 34 dB +10 dB 60 dB 16 dB 34 dB +10 dB 10k 3k 10k 600 Lines 50600 Mics 600 Lines 600 Lines 600 Lines 3k
Input Impedance Appropriate Impedance
Sensitivity * 80 dBu (0.078 mV) 36 dBu (12.3 mV) 54 dBu (1.55 mV) 10 dBu (245 mV) 80 dBu (0.078 mV) 36 dBu (12.3 mV) 54 dBu (1.55 mV) 10 dBu (245 mV) 30 dBu (24.5 mV)
Nominal Level 60 dBu (0.775 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +10 dBu (2.45 V) 60 dBu (0.775 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +10 dBu (2.45 V) 10 dBu (245 mV)

50600 Mics

Max. before Clipping 40 dBu (7.75 mV)
+4 dBu (1.23 V) 14 dBu (155 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) 6 dBu (389 mV) 14 dBu (155 mV) +30 dBu (24.5 V) +10 dBu (2.45 V)
Connector Specications XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD])
Phone jack (unbalanced) Phone jack (unbalanced) RCA pin jack TRS phone Jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) Phone jack (unbalanced)

20 dBu (77.5 mV)

0 dBu (0.775 V)

+20 dBu (7.75 V)

dBu (195 mV) +4 dBu (1.23 V) +24 dBu (12.3 V) Lines 600 2TR IN (L, R) 10k 26 dBV (50.1 mV) 10dBV (0.316V) +10dBV (3.16 V) RCA pin jack Lines Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to the maximum level. (All faders and level controls are at their maximum position.) 10k

Output Specications

Output Connectors Output Impedance 75 Appropriate Impedance 600 Lines Nominal Level Max. before clipping +24 dBu (12.3 V) Connector Specications XLR-3-32 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone Jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) RCA pin jack Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Stereo phone jack

STEREO OUT (L, R)

+4dBu (1.23 V)
GROUP OUT (1, 2) EFFECT/AUX (AUX1, 2*) SEND CH INSERT OUT (CHs 1-4) REC OUT (L, R)

150 100

10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40 Phones
+4dBu (1.23 V) +4dBu (1.23 V) 0 dBu (0.775 V) 10 dBV (0.316 V) +4 dBu (1.23 V) 3 mW
+20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +10 dBV (3.16 V) +20 dBu (7.75 V) 75 mW

MONITOR OUT (L, R)

PHONES OUT
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * The MG124CX feature is described rst, followed by the MG124C feature in brackets: MG124CX (MG124C)

Dimensional Diagrams

86.1 346.2 79.6 2

Unit: mm

+48V PEAK RE SUM BA ON CH Fader [0dBu] [10dBu]

[0dBu]

Specifications
AUX *1 EFFECT *1 STEREO L STEREO R GROUP 1 GROUP 2 PFL L PFL R PFL CTRL
(CH1 to 4) [34 to +10dBu]

[6dBu]

PAN G1-2 [0dBu] GROUP Fader GROUP OUT
BA [+4dBu] SUM BA PRE [0dBu]

PHANTOM

[-10dBu]

[60 to 16dBu]

3-Stage EQ

CH INPUT

YE [0dBu] TO ST INV INV

AUX *1 2

[6dBu] PFL

LINE EFFECT *1

[0dBu] PEAK RE +15V

GAIN Trim

[16 to 60dB]

TH+GAIN

INSERT I/O

[34 to +10dBu]

ON [0dBu] PRE [10dBu] BA [0dBu]

HA CH Fader [0dBu]

HPF BAL/PAN G1-2 STEREO Fader R

SUM BA SUM BA

[0dBu] [10dBu]

L ST OUT

[+4dBu]

ST CH INPUT

YE [14dBu]

(CH5/6, 7/8)

LINE L/MONO

AUX *1

[34 to +10dBu] BA
GAIN Trim EFFECT *1 PFL STEREO/GROUP
[0dBu] [0dBu] +15V [14dBu]

[6 to 50dB]

Block Diagram and Level Diagram

L R REC OUT

[10dBV] [7.8dBu]

LINE R LED METER

ON [0dBu] [10dBu] PRE BA
CH Fader [0dBu] [0dBu] [16dBu]

BAL G1-2

[0dBu] SUM SUM

MONITOR/PHONES

2-Stage EQ

L MONITOR OUT

[+4dBu] INV

YE [14dBu] SUM SUM

(CH9/10, 11/12) [10dBu]

EFFECT *1 PFL

+15V [6dBu] [14dBu]

LED METER

[3mW @ 40ohms]

L/MONO ST

SUM [0dBu]

AUX SEND *1

[6dBu] BA
RETURN AUX *1 TO STEREO/TO MONITOR 2TR IN

SUM [0dBu] [14dBu]

AUX SEND *1 EFFECT SEND *1

[6dBu] BA [+4dBu]

EFFECT SEND *1

2TR IN

EFFECT RETURN

LO [10dBu] BA [0dBu]

FOOT SW EFFECT ON/OFF PROGRAM (1-16)

PARAMETER AUX

[14dBu]

DIGITAL EFFECT (DSP) PFL

ON YE +15V
MODEL MG124CX MONITOR MIX MG124C
FUNCTION NAME AUX AUX1 EFFECT AUX2

only MG124CX

+30dBu Clip Level RETURN [+4dBu] CH AUX *1 [Nominal:6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level GROUP OUT [+4dBu] Clip Level STEREO OUT [+4dBu] MONITOR OUT [+4dBu] RETURN 2TR IN [Nominal:6dB] AUX SEND *1 [Nominal:6dB] REC OUT [7.8dBu] GROUP Fader [Nominal:10dB] STEREO Master [Nominal:10dB] PHONES [3mW @ 40ohms] MONITOR/PHONES [Nominal:16dB] Clip Level
+30dBu +20dBu +10dBu 0dBu 10dBu 20dBu 30dBu

+20dBu

Clip Level

+10dBu

CH IN LINE Gain:Min [+10dBu]
ST CH IN LINE Gain:Min [+10dBu]
0dBu 2TR IN [10dBV] CH Level [7.8dBu] ST CH Level [Nominal:10dB]
CH IN MIC Gain:Min [16dBu]
ST CH IN MIC Gain:Min [16dBu]

ST CH IN [10dBu]

CH IN LINE Gain:Max [34dBu]
ST CH IN LINE Gain:Max [34dBu]
EFFECT RETURN [Nominal:10dB] ST CH AUX *1 DSP AUX [Nominal:6dB]
CH IN MIC Gain:Max [60dBu]
ST CH IN MIC Gain:Max [60dBu]
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de dtails sur les produits, veuillez-vous adresser Yamaha ou au distributeur le plus proche de vous gurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefhrten Niederlassung und bei Yamaha Vertragshndlern in den jeweiligen Bestimmungslndern erhltlich. Para detalles sobre productos, contacte su tienda Yamaha ms cercana o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA
Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311

SWEDEN

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

TAIWAN

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

DENMARK

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

THAILAND

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

NORWAY

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

EUROPE

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

OTHER ASIAN COUNTRIES

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

OTHER EUROPEAN COUNTRIES

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

GERMANY

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

OCEANIA AFRICA

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

AUSTRALIA

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

AUSTRIA

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

MIDDLE EAST

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

OTHER COUNTRIES

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

HEAD OFFICE

Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441
Yamaha Pro Audio global web site: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2006 Yamaha Corporation WH63190 608POAP3.3-01A0 Printed in China