For applications requiring up to 12 input channels, the Yamaha MG124CX mixer offers stunning MG-series sound plus an extra margin of signal-routing versatility. The Yamaha MG 124CX features a high-performance digital multi-effect processor built-in, giving you everything you need in one compact, powerful package. Even though it has 12 channels, four buses, and a wealth of advanced features, the MG124CX is small and light enough (only 2.9 kilograms) to be tucked under an arm and set up just about... Read more
Part Numbers: MG-124CX, MG124CX, MG124cx
UPC: 0086792859378, 086792859378
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Yamaha MG124CX - Brochure, size: 352 KB
Yamaha MG124CX Musik Messe 2010
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MG166CX, MG124CX, MG82CX
Yamahas one-knob compressor and built-in SPX effects give these mixers refined creative control.
8, 12, or 16 inputs in remarkably lightweight, portable designs. Yamahas innovative one-knob compressor lets you easily dial in the amount of compression you need. Built-in digital SPX multi-effect processor. All models feature high-quality Neutrik balanced XLR connectors on mono microphone/line channels and
XLR-equipped stereo channels.
Top-mounted input and output connectors for easy setup and re-patching. High-performance microphone preamplifiers with switchable phantom power. 3-band channel EQ and high-pass filters (sweepable midrange on the MG166CX). Smooth 60-millimeter faders & illuminated channel ON switches. The MG82CX has a single stereo bus (i.e. two mono buses), while the other models feature one or two additional
stereo group buses and outputs for convenient channel grouping. AUX sends with master send controls for convenient processing and monitoring. Return level controls for the AUX and STEREO buses. Bright meters for visual level monitoring. Optional microphone stand mount available for the MG82CX. MG166CX rack mountable.
Mic Stand Adaptor
MG166CX Mic/Line inputs Line inputs Mixer input channels Group buses AUX buses Main buses Total harmonic distortion (THD+N) Frequency response Hum and noise level Crosstalk (@1kHz) Power supply adaptor Power consumption Dimensions (W x H x D) Net weight Accessories mono + 4 stereo 3 (Incl. 1x Effect send) Stereo Less than 0.1%, 20Hz-20kHz 0, +1, -3dB , 20Hz-20kHz Equivalent input noise (EIN): -128dBu Residual output noise: -98dBu -70dB PA-30 AC adaptor (AC35VCT, 1.4A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 35W 478 x 105 x 496mm (18.8" x 4.1" x 19.5") 5.5kg (12.1lbs) Owners manual, AC adaptor PA-20 AC adaptor (AC35VCT, 0.94A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 30W 346.2 x 86.1 x 436.6mm (13.6" x 3.4" x 17.2") 3.2kg (7.0lbs) PA-10 AC adaptor (AC38VCT, 0.62A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 21W 256.6 x 62.2 x 302.5mm (10.1" x 2.5" x 11.9") 1.6kg (3.5lbs) Equivalent input noise (EIN): -128dBu Residual output noise: -100dBu MG124CX mono + 4 stereo 2 (Incl. 1x Effect send) Stereo MG82CX mono + 3 stereo (Effect send) Stereo
Hum and noise level are measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation.
Terminal Gain Actual Load For Use With Impedance Nominal Input Level Sensitivity Nominal -80dBu -36dBu -54dBu -10dBu -80dBu -36dBu -54dBu -10dBu -30dBu -20dBu -12dBu -26dBV -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV Max. before Clip Connector
Terminal Actual Source For Use With Impedance Nominal Output Level Nominal Max. before Clip +24dBu +20dBu +20dBu +20dBu +20dBu +10dBV +20dBu 75mW +24dBu +20dBu +20dBu +20dBu +20dBu +10dBV +20dBu 75mW +20dBu +20dBu +20dBu +10dBV +20dBu 75mW Connector
MG166CX CH IN MIC (1-8) CH IN LINE (1-8) ST CH MIC IN (9/10, 11/12) ST CH LINE IN (9/10, 11/12) ST CH IN (13/14, 15/16) CH INSERT IN (1-8) RETURN [L,R] 2TR IN [L,R] -60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB 3k 10k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines MG124CX CH IN MIC (1-4) CH IN LINE (1-4) ST CH MIC IN (5/6,7/8) ST CH LINE IN (5/6,7/8) ST CH IN (9/10,11/12) CH INSERT IN (1-4) RETURN [L,R] 2TR IN [L,R] -60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB 3k 10k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines MG82CX CH IN MIC (1, 2) CH IN LINE (1, 2) ST CH MIC IN (3/4, 5/6) ST CH LINE IN (3/4, 5/6) ST CH IN (7/8) CH INSERT IN (1, 2) RETURN [L,R] 2TR IN [L,R] -60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB 3k 10k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines -72dBu -28dBu -46dBu - 2dBu -72dBu -28dBu -46dBu - 2dBu -22dBu -12dBu - 8dBu -22dBV -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV -40dBu +4dBu -14dBu +30dBu -40dBu -6dBu -14dBu +30dBu +10dBu XLR-3-31 type* TRS Phone jack* XLR-3-31 type* Phone jack** Phone jack** RCA pin jack** -80dBu -36dBu -54dBu -10dBu -80dBu -36dBu -54dBu -10dBu -30dBu -20dBu -12dBu -26dBV -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV -40dBu XLR-3-31 type* +4dBu -14dBu TRS Phone jack* +30dBu -40dBu XLR-3-31 type* -6dBu -14dBu Phone jack** +30dBu +10dBu Phone jack** RCA pin jack** -40dBu XLR-3-31 type* +4dBu -14dBu TRS Phone jack* +30dBu -40dBu XLR-3-31 type* -6dBu -14dBu Phone jack** +30dBu +10dBu Phone jack** RCA pin jack** STEREO OUT [L,R] GROUP OUT [1-4] AUX SEND (1, 2) EFFECT SEND CH INSERT OUT (1-8) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT STEREO OUT [L, R] GROUP OUT [1, 2] AUX SEND EFFECT SEND CH INSERT OUT (1-4) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT STEREO OUT [L,R] EFFECT SEND CH INSERT OUT (1-2) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT *** : Impedance balanced
MG166CX 600 Lines +4dBu 10k Lines +4dBu 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines +4dBu +4dBu 0dBu -10dBV +4dBu 3mW
XLR 3-32 type* TRS Phone jack*
TRS Phone jack*** TRS Phone jack*** TRS Phone jack*** TRS Phone jack** RCA pin jack** TRS Phone jack* Stereo phone jack**
+20dBu TRS Phone jack** +24dBu Phone jack** +10dBV RCA pin jack**
MG124CX 600 Lines +4dBu 10k Lines +4dBu 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines MG82CX 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines +4dBu +4dBu 0dBu -10dBV +4dBu 3mW +4dBu +4dBu 0dBu -10dBV +4dBu 3mW
TRS Phone jack*** TRS Phone jack*** TRS Phone jack*** Phone jack** RCA pin jack** TRS Phone jack*** Stereo phone jack** TRS Phone jack*** TRS Phone jack*** TRS Phone jack** RCA pin jack** Phone jack*** Stereo phone jack**
unit : mm
496 436.105 346.2 86.1 256.6
MG166C, MG166CX, MG206C, MG166C-USB, MG166CX-USB, MG206C-USB
Sensitivity is the lowest level that will produce the nominal output level when the unit is set to maximum level.
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.
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.
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.
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.
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-). Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return. Yamaha cannot be held responsible for damage caused by improper use or modications to the device, or data that is lost or destroyed.
Always turn the power off when the device is not in use. Even when the power switch is in the STANDBY position, electricity is still owing to the device at the minimum level. When you are not using the device for a long time, make sure you unplug the power cord from the wall AC outlet. The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualied Yamaha service personnel about replacing defective components.
The MG mixer may heat up by as much as 15 to 20C while the power is on. This is normal. Please note that the panel temperature may exceed 50C in ambient temperatures higher than 30C, and use caution to prevent burns. * This Owners Manual applies to both the MG124CX and MG124C. The main difference between the two models is that the MG124CX includes digital effects while the MG124C has no internal effects. * In this manual the term MG mixsers refers to both the MG124CX and MG124C. In cases where different features need to be described for each model, the MG124CX feature will be described rst, followed by the MG124C feature in brackets: MG124CX (MG124C). * Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation. * Company names and product names herein are trademarks or registered trademarks of their respective companies. Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all copyrights, and consult with a copyright specialist if you are in doubt about permissible use.
Specications and descriptions in this owners manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
Thank you for your purchase of the YAMAHA MG124CX/MG124C mixing console. The MG124CX/ MG124C feature input channels suitable for a wide range of usage environments. And the MG124CX includes high-quality built-in digital effects that can provide some very serious sound. The mixer combines ease of operation with support for multiple usage environments. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of this mixers superlative features and enjoy trouble-free operation for years to come.
Contents... 5 Before Turning on the Mixer.. 5 Turning the Power On.. 5
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
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.
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.
Powered Speakers Synthesizer Bass Foot Switch (YAMAHA FC5)
CD Player DI
Effect Processor (exciter)
Effect Processor Headphones
Powered Monitor Speaker
Powered Monitor Speakers
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.
Where an input channel provides both a MIC input jack and a LINE input jack, or a LINE input jack and an RCA pin jack, you can use either jack but not both at the same time. Please connect to only one jack on each channel.
5 INSERT Jacks (CHs 1 to 4)
Each of these jacks provides an insert point between the equalizer and fader of the corresponding input channel (CHs 1 to 4). The INSERT jacks can be used to independently connect devices such as graphic equalizers, compressors, or noise lters into the corresponding channels. These are TRS (tip, ring, sleeve) phone jacks that carry both the send and return signal (tip = send/out; ring = return/in; sleeve = ground).
A B C D
Patching external devices via an INSERT jack requires a special insert cable such as illustrated below (insert cable sold separately).
To the input jack of the external processor
To the INSERT I/O jack
Sleeve (Ground) Sleeve (Ground) Ring: IN Tip: OUT Tip: IN
E F G H
To the output jack of the external processor The signal output from the INSERT jacks is reverse-phased. This should not be a problem when connecting to an effect unit, but please be aware of the possibility of phase conict when connecting to other types of device.
6 GAIN Control
Adjusts the input signal level. To achieve the best balance between S/N ratio and dynamic range, adjust the level so that the PEAK indicator 9 lights only occasionally and briey on the highest input transients. The 60 to 16 scale is the MIC input adjustment range. The 34 to +10 scale is the LINE input adjustment range.
Reference Front & Rear Panels
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 (the HPF does not apply to the line inputs of stereo input channels 34).
C EFFECT (AUX2) Controls
Adjusts the level of the signal sent from the channel to the EFFECT (AUX2) bus. Note that the signal level sent to the bus is also affected by the Channel fader. On stereo channels (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 (AUX2) bus.
8 COMP Control
Adjusts the amount of compression applied to the channel. As the knob is turned to the right the compression ratio increases while the output gain is automatically adjusted accordingly. The result is smoother, more even dynamics because louder signals are attenuated while the overall level is boosted.
D 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 stereo positioning of the channel 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 input to the L input (odd channel) go to the Group 1 bus or to the Stereo L bus; signals input to the R input (even channel) go to the Group 2 bus or the Stereo R bus.
Avoid setting the compression too high, as the the higher average output level that results may lead to feedback.
9 PEAK Indicator
The peak level of the post-EQ signal is detected, and the PEAK indicator lights red when the level reaches 3 dB below clipping. For XLR-equipped stereo input channels (5/6 and 7/8), both the post-EQ and post-mic-amp peak levels are detected, and the indicator lights red if either of these levels reaches 3 dB below clipping.
0 Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channels high, mid, and low frequency bands. Channels 9/10 and 11/12 have two bands: high and low. Setting the knob to the t position produces a at response in the corresponding band. 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, frequency, and maximum cut/boost for each of the three bands.
Band HIGH MID LOW Type Shelving Peaking Shelving Frequency 10 kHz 2.5 kHz 100 Hz Maximum Cut/Boost
On channels where this knob provides both PAN and BAL control (channels 5/6 and 7/8), the knob operates as a PAN control when input is received via the MIC jack or L (MONO) input only, and as a BAL control when input is received via both L and R inputs.
E ON Switch
Turn this switch on to send the signal to the buses. The switch lights orange when on.
F PFL (Pre-Fader Listen) Switch
This switch lets you monitor the channels pre-fader signal. Press the switch in ( ) so that it lights to turn it on. When the switch is on the channel pre-fader signal is output to the PHONES and MONITOR OUT I jacks for monitoring.
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.
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)
2TR IN TO STEREO
STEREO OFF GROUP TO MONITOR STEREO + 2TR IN * TO STEREO GROUP
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)
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.
If the input channel PFL switch is on ( ), then only the PFL output from that channel is sent to the C-R OUT jacks, PHONES jacks, and level meter.
F GROUP 1-2 Fader
Adjusts the signal level sent to the GROUP OUT jacks.
B POWER Indicator
This indicator lights when the mixers power is ON.
G ST Switch
If this switch is on ( ), the signals are sent to the STEREO L/R buses via the GROUP 1-2 fader F. The Group 1 signal goes to Stereo L and the Group 2 signal goes to Stereo R.
C Level Meter
This LED meter displays the level of the signal selected by the MONITOR switch D, 2TR IN switch E and PFL switch. The 0 segment corresponds to the nominal output level. The PEAK segment lights red when the output reaches the clipping level.
H STEREO OUT Master Fader
Adjusts the signal level sent to the STEREO OUT jacks.
*Only the MG124CX has digital effects.
1 FOOT SWITCH Jack
A YAMAHA FC5 foot switch (sold separately) can be connected to this jack and used to toggle the digital effects ON and OFF.
2 PROGRAM Dial
Selects one of the 16 internal effects. See page 17 for details about the internal effects.
3 PARAMETER Control
Adjusts the parameter (depth, speed, etc.) for the selected effect. The last value used with each effect type is saved.
When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly selected effect (regardless of the current position of the PARAMETER Control knob). These parameter values are reset when the power is turned off.
4 AUX Control
Adjusts the level of the signal sent from the internal digital effect unit to the AUX bus.
5 ON Switch
Switches the internal effect on or off. The internal effect is applied only if this switch is turned on. The switch lights orange when on. An optional YAMAHA FC5 foot switch (sold separately) can be used to toggle the digital effects ON and OFF.
The ON switch lights and the internal effect unit is active by default when the power is initially turned on.
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.
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.
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
RETURN LINE INPUT (CH5/6 to 11/12)
* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.
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.
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.
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
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)
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
LINE R LED METER
ON [0dBu] [10dBu] PRE BA
CH Fader [0dBu] [0dBu] [16dBu]
[0dBu] SUM SUM
L MONITOR OUT
YE [14dBu] SUM SUM
(CH9/10, 11/12) [10dBu]
EFFECT *1 PFL
+15V [6dBu] [14dBu]
[3mW @ 40ohms]
AUX SEND *1
RETURN AUX *1 TO STEREO/TO MONITOR 2TR IN
SUM [0dBu] [14dBu]
AUX SEND *1 EFFECT SEND *1
[6dBu] BA [+4dBu]
EFFECT SEND *1
LO [10dBu] BA [0dBu]
FOOT SW EFFECT ON/OFF PROGRAM (1-16)
DIGITAL EFFECT (DSP) PFL
ON YE +15V
MODEL MG124CX MONITOR MIX MG124C
FUNCTION NAME AUX AUX1 EFFECT AUX2
+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
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.
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
YS Copenhagen Liaison Ofce Generatorvej 6A DK-2730 Herlev, Denmark Tel: 49 00
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
Norsk lial av Yamaha Scandinavia AB Grini Nringspark 1 N-1345 sters, Norway Tel: 77 70
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
Yamaha Music Central Europe GmbH Siemensstrae 22-34, 25462 Rellingen, Germany Tel: 04101-3030
Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313
Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111
Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zrich, Switzerland Tel: 01-383 3990
COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN
Yamaha Music Central Europe GmbH, Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900
CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA
Yamaha Music Central Europe GmbH, Branch Austria, CEE Department Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025
Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: +971-4-881-5868
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
For applications requiring up to 12 input channels, the Yamaha MG124CX mixer offers stunning MG-series sound plus an extra margin of signal-routing versatility. The Yamaha MG 124CX features a high-performance digital multi-effect processor built-in, giving you everything you need in one compact, powerful package. Even though it has 12 channels, four buses, and a wealth of advanced features, the MG124CX is small and light enough (only 2.9 kilograms) to be tucked under an arm and set up just about anywhere. This remarkable sound mixer provides significant space savings along with huge performance benefits.
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