MG16/4, MG12/4

MG12-16_E.book Page 3 Monday, May 26, 2003 1:14 PM

For correct operation

Connector pin assignments
Inuence on cell phone usage
XLR-type connectors are wired as follows: 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.
Using a cell phone (mobile telephone) near this unit may induce noise. If noise occurs, use the telephone away from the unit.

Replacing abrasive parts

The performance of components with moving contacts, such switches, rotary controls, faders, and connectors, deteriorates over time. The rate of deterioration depends on the operating environment and is unavoidable. Consult your dealer about replacing defective components.
Always turn the power off when the mixer is not in use. Even when the power switch is in the STANDBY position, electricity is still owing to the mixer at the minimum level. When you are not using the mixer for a long time, make sure you unplug the AC power adaptor from the wall AC outlet.
Copying of the commercially available music data and/or digital audio les is strictly prohibited except for your personal use. Illustration examples shown herein are for explanatory purposes only, and may not match actual appearance during operation. The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.
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)

To summarize:

Microphones: Short line-level runs: Long line-level runs: Use balanced lines. Unbalanced lines are ne if youre in a relatively noise-free environment. The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best.
I How Do Balanced Lines Reject Noise?
** Skip this section if technical details make you queasy. ** Balanced lines work on the principle of phase cancellation: if you add two identical signals out of phase (i.e. one signal is inverted so its peaks coincide with the troughs in the other signal), the result is nothing. A at line. The signals cancel each other out.

Normal-phase signal.

No signal. (Phase cancellation)

Reverse-phase signal.

A balanced cable has three conductors:
1) A ground conductor which carries no signal, just the ground or 0 reference against which the signal in the other conductors uctuates. 2) A hot or + conductor which carries the normal-phase audio signal. 3) A cold or conductor which carries the reverse-phase audio signal. While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become inphase, and the induced noise suddenly nds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio signal is left intact. Clever, eh?
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.
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).
I 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.
3 Channel Peak LED & Fader
The channel peak LED is your most valuable tool for setting the input gain control for optimum performance. Note that it is located after the head amp and EQ stage.
I 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.

2 Equalizer

Could be simple bass and treble controls or a full-blown 4-band parametric EQ. When boost is applied the EQ stage also has gain. You can actually overload the input channel by applying too much EQ boost. Its usually better to cut than boost.
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 mixer i.e. the number of buses or outputs it provides.
MG12-16_E.book Page 11 Monday, May 26, 2003 1:14 PM
The First Steps in Achieving Great Sound
Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are properly set for each individual source. This cant be stressed enoughinitial level setup is vitally important for achieving optimum performance from your mixer! Heres why and how.
3-1. The Head Amplier Gain Control Is the Key!
Lets review our simplied mixer block diagram:
Each and every stage in the mixers signal path will add a certain amount of noise to the signal: the head amp, the EQ stage, the summing amplier, and the other buffer and gain stages that exist in the actual mixer circuit (this applies to analog mixers in particular). The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any signicant degree on the level of the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the added noise will be in relation to it. In tech-speak this gives us a better signal-to-noise ratiooften abbreviated as S/N ratio. All of this leads to the following basic rule: To achieve the best overall system S/N ratio, amplify the input to the desired average level as early as possible in the signal path. In our mixer, that means the head amplier. If you dont get the signal up to the desired level at the head amplier stage, you will need to apply more gain at later stages, which will only amplify the noise contributed by the preceding stages. Just remember that too much initial gain is bad too, because it will overload our channel circuitry and cause clipping.
MG12-16_E.book Page 12 Monday, May 26, 2003 1:14 PM
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.

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 instrument with 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.
MG12-16_E.book Page 17 Monday, May 26, 2003 1:14 PM

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 hardand-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. 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.

5-4. 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.

Reverb Level

Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly ne. 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. You dont want reverb to dominate the mix unless you are trying to create the effect of a band in a cavewhich is a perfectly legitimate creative goal if thats the sort of thing youre aiming for.

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.
MG12-16_E.book Page 18 Monday, May 26, 2003 1:14 PM

Front & Rear Panels

Channel Control Section

1 GAIN Control

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.
Channels 1 to 8 (MG16/4) 1 to 4 (MG12/4) (Monaural)
Channels 9/10 and 11/12 (MG16/4) 5/6 and 7/8 (MG12/4) (Stereo)
Channels 13/14 and 15/16 (MG16/4) 9/10 and 11/12 (MG12/4) (Stereo)

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 (9/10 and 11/12 on the MG16/4; 5/6 and 7/8 on the MG12/4), 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 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.
MG12-16_E.book Page 19 Monday, May 26, 2003 1:14 PM

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.

MG12-16_E.book Page 21 Monday, May 26, 2003 1:14 PM
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.
MG12-16_E.book Page 22 Monday, May 26, 2003 1:14 PM
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.
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.

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.

2 INSERT I/O Jacks

Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (MG16/4: CHs 1 to 8; MG12/4: 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

6 C-R OUT Jacks

Use these stereo phone-type output jacks to connect to your monitor system.
To the INSERT I/O jack Sleeve Tip
Sleeve Ring To the output jack of the external processor Tip

7 SEND Jacks

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.
AUX1, AUX2 These are impedance balanced phone-type output jacks. These jacks output the signals from the AUX1 and AUX2, respectively. Use these jacks to output these signals to an effector or a cue box or other such monitor system.
MG12-16_E.book Page 23 Monday, May 26, 2003 1:14 PM
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 AUX1 and AUX2 buses. These jacks are typically used to receive a return signal from an external effector (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 propagate the identical signal on both L and R 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.

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

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

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

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

AFRICA

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

GERMANY

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

OCEANIA

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

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

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

AUSTRIA

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

THE NETHERLANDS

Yamaha Music Central Europe, Branch Nederland Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441

SWEDEN

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

SINGAPORE

Yamaha Music Asia Pte., Ltd. No.11 Ubi Road 1, No.06-02, Meiban Industrial Building, Singapore Tel: 747-4374

ARGENTINA

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

DENMARK

YS Copenhagen Liaison Ofce Generatorvej 8B DK-2730 Herlev, Denmark Tel: 49 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

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

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

AFRICA

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

GERMANY

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

OCEANIA

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

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

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

AUSTRIA

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

THE NETHERLANDS

Yamaha Music Central Europe, Branch Nederland Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division