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.
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3-2. Level Setup Procedure For Optimum Performance
Now that we know what we have to do, how do we do it? If you take another quick look at the mixer block diagram youll notice that theres a peak indicator located right after the head amplier and EQ stages, and therein lays our answer! Although the exact procedure you use will depend on the type of mixer you use and the application, as well as your personal preferences, heres a general outline:
Start by setting all level controls to their minimum: master faders, group faders (if provided), channel faders, and input gain controls. Also make sure that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or bypassed.
Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding channel until the peak indicator begins to ash, then back off a little so that the peak indicator ashes only occasionally. Repeat for each active channel.
Raise your master fader(s)and group faders if availableto their nominal levels (this will be the 0 markings on the fader scale).
Now, with all sources playing, you can raise the channel faders and set up an initial rough mix.

Thats basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you dont stay in the peak zone all the time. If the output level meters are peaking constantly you will need to lower the channel faders until the overall program falls within a good range and this will depend on the dynamic range of your program material.
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External Effects, Monitor Mixes, and Groups
Pre/PostWhats the difference?
pre A pre-fader signal is taken from a point before the channel fader, so the send level is affected only by the AUX send level control and not by the channel fader. Pre-fader sends are most commonly used to provide monitor mixes. post A post-fader signal is taken from a point after the channel fader, so its level will be affected by both the AUX send level control and the channel fader. Post-fader sends are most commonly used in conjunction with the mixers AUX or effect returns for external effect processing.
4-1. AUX Buses For Monitor Sends and Overall Effects
There are a number of reasons why you might want to tap the signal owing through your mixer at some point before the main outputs: the two most common being 1) to create a monitor mix that is separate from the main mix, and 2) to process the signal via an external effect unit and then bring it back into the mix. Both of these functions, and more, can be handled by the mixers AUX (Auxiliary) buses and level controls. If the mixer has two AUX buses, then it can handle both functions at the same time. Larger mixing consoles can have 6, 8, or even more auxiliary buses to handle a variety of monitoring and processing needs. Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you need a pre-fader or postfader send. AUX sends often feature a switch that allows you to congure them for pre- or postfader operation.

Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplier and speaker system. The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No return signal is used in this case.
Channel Fader AUX Send Level

Master Fader

AUX Send Level

AUX Return Level

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

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

Group Fader

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

Stereo Master Fader

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

Channel Fader

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

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

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?

Music FirstThen Mix

In any case, the music comes rst. Think about the music and let it guide the mix, rather than trying to do things the other way around. What is the music saying and what instrument or technique is being used to drive the message? Thats where the focus of your mix should be. Youre using a hightech tool to do the mixing, but the mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music.

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.
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5-2. Panning For Cleaner Mixes
Not only does the way you pan your individual channels determine where the instruments appear in the stereo sound eld, but it is also vital to give each instrument its own space so that it doesnt conict with other instruments. Unlike live sound in a real acoustic space, recorded stereo sound is basically 2-dimensional (although some types of surround sound are actually very 3-dimensional), and instruments positioned right on top of each other will often get in each others wayparticularly if they are in the same frequency range or have a similar sound.

5-3. 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.

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.

Boost With Caution

These Master SEND controls do not affect the level of the signal sent from the internal digital effector onto the Master EFFECT bus.
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 Adjusts 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 MIC input jacks (CHs 18, 9/10, 11/12). 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 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.

1 ST Master Fader

Adjusts the signal level to the ST OUT jacks.
2 GROUP Faders (1-2, 3-4)
Adjust the signal level to the GROUP OUT 1 to 4 jacks.
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8 Level-Meter Signal Switches
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.

C PHONES Jack

Connector for headphones. This is a balanced stereo phone-type output jack.
The signal monitored by these jacks is selected by the Level-Meter Signal switches and the channel PFL switches.

D DIGITAL EFFECT

Switch Signal

2TR IN

ST-GROUP GROUP
PROGRAM Dial Selects the internal digital effect to be applied. You can select from 16 effects, as shown in the table.
HALL 1 HALL 2 HALL 3 ROOM PLATE 1 PLATE 2 PLATE 3 GATE REVERB 9 VOCAL ECHO 1

PFL 2TR - IN ST

ON ON OFF OFF OFF ON OFF ON C-R OUT & PHONES
10 VOCAL ECHO VOCAL ECHO VOCAL ECHO VOCAL REVERB VOCAL REVERB VOCAL REVERB VOCAL REVERB 4

GROUP 1 - 2 GROUP 3 - 4

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 either the Stereo, Group 1-2, or Group 3-4 signal is sent to the C-R OUT jacks (as determined by the ST-GROUP and GROUP toggle switches).

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.
PARAMETER Control Adjusts the parameter (depth, speed, etc.) for the selected effect. AUX1 and AUX2 Controls Adjust the level of the signal sent from the internal digital effector to the AUX1 and AUX2 buses. ON Switch Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on ( ). PFL Switch Set this switch on ( ) if you wish to output the effect signal to the PFL bus. GROUP Switches (1-2, 3-4) Set one or both switches on ( ) to output the internal effect signal to the GROUP 1-2 and/or GROUP 3-4 buses. EFFECT RTN Fader Adjusts the signal level from the internal digital effector to the STEREO bus.

A POWER Indicator

This indicator lights up when the mixers power is ON.

B ST GRAPHIC EQUALIZER

This 7-band equalizer adjusts the sound of the signal send to the ST OUT jacks. The equalizer is effective only if the GEQ switch is set on ( ). The equalizer cuts or boosts each band (125, 250, 500, 1k, 2k, 4k, and 8k Hz) over a range of 12 dB.
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Rear Input/Output Section

3 Channel Input Jacks

These are unbalanced input jacks. Two jack types are provided: phone type (CHs 9/10 to 15/16) and RCA pin type (CHs 13/14, 15/16). Use these jacks to input stereo signals, inputting the L signal(s) to the odd-numbered channel(s) and the R signal(s) to the even-numbered channel(s).
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. The phone-type jacks for CH9/10 and 11/12 also support monaural input. Specically, if you input only into the L(MONO) jack of either pair (while leaving the R jack empty), the mixer will propagate the same signal through both the L(MONO) and R inputs.

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Setting Up

Setup Procedure
(1) Before connecting to microphones and instruments, be sure that all devices are turned off. Also be sure that all of the mixers channel faders and master control faders are set all the way down. (2) For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer. (LINE jacks: CHs 1 to 8. MIC jacks: CHs 1 to 8, 9/10, 11/12.)
(3) To avoid causing damage to speakers, power up the devices in the following order: Peripheral devices mixer power amps (or powered speakers).
When shutting the system down, turn off the power in the opposite order: Power amps (powered speakers) mixer peripheral devices.

Setup Examples

I Home Recording

Effector

Rhythm Machine

Synthesizer

MTR Effector Effector

Guitar

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

Microphone

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

Power Amp

Effector Microphones
CD, Cassette, or DAT Recorder

DI Bass

CD Player

Synthesizer Effector

Microphones

Headphones

Main Speakers (External) Example of Speaker Arrangement

Stage (Internal)

AUX 1 Audience (External) ST ST
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Rack Mounting

I Mounting
(1) Two metal rack-mount supports are screwed onto the unit. Use a screwdriver to remove these supports.
(2) Turn the supports over, and fasten them into place again using the same screws.
(3) Mount the unit into the rack, and fasten it into place.
If you wish you may move the left support to the right side and the right support to the left side, as shown in the drawing.
Do not install the mixer near power amps or other heat-generating devices.
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Appendix

Specications

I General Specications

Frequency Characteristics (ST OUT) Total Harmonic Distortion (ST OUT) 20 Hz20 kHz +1 dB, 3 dB @+4 dBu, 600 (with gain control at minimum level) 0.1% (THD+N) @+14 dBu, 20 Hz20 kHz, 600 (with gain control at maximum level) 128 dBu Equivalent input noise (CHs 1 to 8) 100 dBu Residual output noise (ST OUT) 88 dBu (92 dB S/N) ST, GROUP Master fader at nominal level; all Ch assign switches off. AUX, EFFECT master control at nominal level; all channel mix con81 dBu (85 dB S/N) trols at minimum level. ST, GROUP Master fader and one Ch fader at nominal level. 64 dBu (68 dB S/N) (CHs 1 to 8) 60 dB CH MIC INPUT CH INSERT OUT 84 dB CH MIC INPUT GROUP OUT/ST OUT (CH to ST) 94 dB CH MIC INPUT ST OUT (GROUP to ST) 62.2 dB CH MIC INPUT REC OUT (CH to ST) 76 dB CH MIC INPUT AUX SEND (PRE) 86 dB CH MIC INPUT AUX SEND (POST)/EFFECT SEND 58 dB CH LINE INPUT GROUP OUT/ST OUT (CH to ST) 84 dB ST CH MIC INPUT GROUP OUT/ST OUT (CH to ST) 58 dB ST CH LINE INPUT GROUP OUT/ST OUT (ST to ST) 47 dB ST CH LINE INPUT AUX SEND (PRE) 57 dB ST CH LINE INPUT AUX SEND (POST)/EFFECT SEND 34 dB ST CH INPUT GROUP OUT/ST OUT (ST to ST) 16 dB AUX RETURN ST OUT 9 dB AUX RETURN AUX SEND 27.8 dB 2TR INPUT ST OUT 44 dB variable 80 Hz 12 dB/octave 70 dB between input channels 70 dB between input/output channels (CH INPUT) 15 dB HIGH 10 kHz shelving MID 0.255 kHz peaking LOW 100 Hz shelving 15 dB HIGH 10 kHz shelving HI-MID 3 kHz peaking LO-MID 800 Hz peaking LOW 100 Hz shelving 7-band (125, 250, k, 2 k, 4 k, 8 k) Max. Variation 12 dB 16 programs, parameter control On each channel: red indicator lights if post-EQ signal (on ST channels, if either post-EQ signal or post-mic-amp signal) comes within 3 dB of the clipping level. Two 12-point LED meters [Stereo (L, R)] Peak point: red indicator +5, +3, +1, and 0 points: yellow indicators 1, 3, 5, 7, 10, 15, 20: green indicators Supplied when Phantom +48 V switch is ON. Power adaptor (PA-30) USA and Canada: 120 V AC, 60 Hz Europe: 230 V AC, 50 Hz Australia: 240 V AC, 50 Hz Korea: 220 V AC, 60 Hz 51 W 416.6 mm 5.5 kg

Hum and Noise 1

Maximum Voltage Gain 2
Monaural/Stereo Input Gain Control Monaural/Stereo High Pass Filter Crosstalk (1 kHz) Monaural Input Channel Equalization: Max. Variation (CHs 1 to 8) 3
Stereo Input Channel Equalization: Max. Variation (CHs 9/10 to 15/16) 3

10 k line

10 k line 10 k line 10 k line 40 phone

0 dBu (0.775 V)

10 dBV (316 mV) +10 dBV (3.16 V) RCA pin jack +4 dBu (1.23 V) 3 mW Phone jack (TRS) +20 dBu (7.75 V) (impedance balanced [T: hot; R: cold; S: ground]) 75 mW Stereo phone jack
Where 0 dBu = 0.775 V and 0 dBV= 1 V
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. European Models Purchaser/User Information specied in EN55103-1 and EN55103-2. Inrush Current: 6A Conforms to Environments: E1, E2, E3 and E4
MG16-6FX.book Page 30 Saturday, January 25, 2003 10:13 AM

Dimensional Diagrams

H 108 101.3

Unit: mm

When mounted on rack

309.6 D 416.6

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Block Diagram and Level Diagram

Page 32

9:16 AM
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

BELGIUM/LUXEMBOURG

Yamaha Music Central Europe GmbH, Branch Belgium Rue de Geneve (Genevastraat) 10, 1140 - Brussels, Belgium Tel: 02-726 6032
THE PEOPLES REPUBLIC OF CHINA
Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211

U.S.A.

Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011

FRANCE

Yamaha Musique France BP 70-77312 Marne-la-Valle Cedex 2, France Tel: 01-64-61-4000

INDONESIA

PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577
Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771
CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 55-5804-0600
Yamaha Music Korea Ltd. Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong, Youngdungpo-ku, Seoul, Korea Tel: 02-3770-0660

SPAIN/PORTUGAL

Yamaha-Hazen Msica, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-78030900

BRAZIL

Yamaha Musical do Brasil LTDA. Av. Rebouas 2636, So Paulo, Brasil Tel: 011-3085-1377

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
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441
Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2003 Yamaha Corporation V981750 312CRCR1.3-07C0 Printed in China

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.

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
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441
Yamaha Manual Library http://www2.yamaha.co.jp/manual/spanish/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2003 Yamaha Corporation V981780 XXXCRCRX.X-02B0 Printed in China