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)
MG12-16_E.book Page 4 Monday, May 26, 2003 1:14 PM

Introduction

Thank you for your purchase of the YAMAHA MG16/4 or MG12/4 mixing console. This mixing console combines ease of operation with support for multiple usage environments, and is ideal for SR setups, installed systems, and many other such applications. Please read through this Owners Manual carefully before beginning use, so that you will be able to take full advantage of the mixers superlative features and enjoy trouble-free operation for years to come.

Features

Contents
Introduction... 4 Features... 4 Contents.. 4 Before Turning on the Mixer.. 5 Turning the Power On.. 5 Making the Most Of Your Mixer.. A Place For Everything and Everything In Its Place.. Where Your Signal Goes Once Its Inside the Box... The First Steps in Achieving Great Sound. External Effects, Monitor Mixes, and Groups.. Making Better Mixes.. 16 Front & Rear Panels.. 18 Channel Control Section. 18 Master Control Section.. 20 Rear Input/Output Section.. 22 Setting Up... 24 Setup Procedure.. 24 Setup Examples.. 24 Rack Mounting... 26 Appendix... 27 Specications.. 27 Dimensional Diagrams.. 29 Block Diagram and Level Diagram.. 30
The MG16/4 provides 16 input channels that can assign to Stereo or Group output. The MG12/4 provides 12 input channels that can assign to Stereo or Group output. The monitor includes a convenient C-R OUT jack. This jack can be used to monitor the main Stereo output, the PFL signal, or the Group 1-2 signals. The mixer includes dual AUX SEND jacks and a single RETURN jack. The two independent AUX buses may be used as sends to external effectors and monitor systems. Phantom power supply enables easy connection to condenser microphones that run on external power. The mixer provides channel-specic INSERT I/O jacks for input channels 1 to 8 (MG16/4) or 1 to 4 (MG12/4). These jacks make it possible to insert different effectors into different channels. Input channels 1 to 8, 9/10, and 11/12 (MG16/4), and 1 to 4, 5/6, and 7/8 (MG12/4) are each equipped with both an XLR mic input jack and a TRS phone-type line jack. Input channels 13/14 and 15/16 (MG16/4), and 9/10 and 11/12 (MG12/4) are each equipped with both a TRS line input jack and an RCA line input jack. This wide assortment of connectors enables connection to many different devices, from microphones to line-level devices to stereo-output synthesizers.
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Before Turning on the Mixer
(1) Be sure that the mixers power switch is in the STANDBY position.
Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or re.

Turning the Power On

Press the mixers power switch to the ON position. When you are ready to turn the power off, press the power switch to the STANDBY position.
Note that trace current continues to ow while the switch is in the STANDBY position. If you do not plan to use the mixer again for a long while, please be sure to unplug the adaptor from the wall outlet.
(2) Connect the power adaptor to the AC ADAPTOR IN connector ( 1) on the rear of the mixer, and then turn the fastening ring clockwise ( 2) to secure the connection.
(3) Plug the power adaptor into a standard household power outlet.

Be sure to unplug the adaptor from the outlet when not using the mixer, or when there are lightning storms in the area. To avoid generating unwanted noise, make sure there is adequate distance between the power adaptor and the mixer.
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Making the Most Of Your Mixer

An Introduction

Youve got yourself a mixer and now youre ready to use it. Just plug everything in, twiddle the controls, and away you go right? Well, if youve done this before you wont have any problems, but if this is the rst time youve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes.
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A Place For Everything and Everything In Its Place
1-1. A Plethora Of ConnectorsWhat Goes Where?
Questions youre likely to encounter when setting up a system for the rst time might include Why all these different types of connectors on the back of my mixer? and Whats the difference?. Lets start by taking a look at the most common connector types.
The Venerable RCA Pin Jack
This is the consumer connector, and the one that has been most commonly used on home audio gear for many years. Also known as phono jacks (short for phonogram), but the term isnt used much these daysbesides, its too easily confusable with phone jacks, below. RCA pin jacks are always unbalanced, and generally carry a line-level signal at 10 dB, nominal. Youre most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer, or when connecting the output of your mixer to a cassette recorder or similar gear.

The Versatile Phone Jack

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

Stereo/TRS phone plug

Mono phone plug

The Sturdy XLR

This type of connector is generally referred to as XLR-type, and almost always carries a balanced signal. If the corresponding circuitry is designed properly, however, XLR-type connectors will also handle unbalanced signals with no problem. Microphone cables usually have this type of connector, as do the inputs and outputs of most professional audio gear.

Female

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1-2. Balanced, UnbalancedWhats the Difference?
In a word: noise. The whole point of balanced lines is noise rejection, and its something theyre very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation were constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. Thats why balanced lines are the best choice for long cable runs. If your studio is basically conned to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are neunless youre surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplied to an alarming degree in the mixers highgain head amplier.

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?

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

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

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.
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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.

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.

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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.

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

Setup Examples

I Home Recording

Effector

Rhythm Machine

Synthesizer

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

Microphone

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

Power Amp

Effector Microphones
CD, Cassette, or DAT Recorder ( )

DI Bass

CD Player Effector DI Guitar

Microphones

Headphones
Main Speakers (External) Example of Speaker Arrangement

Stage (Internal)

AUX 1 (PRE ) ST Audience (External) ST
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Rack Mounting

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

I Mounting the MG12/4

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

Specications

I General Specications

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

GROUP OUT (1-2) AUX SEND (1-2) CH INSERT OUT (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4) REC OUT (L, R) C-R OUT (L, R) PHONES

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. For European Model Purchaser/User Information specied in EN55103-1 and EN55103-2. Inrush Current: 6A Conformed Environment: E1, E2, E3 and E4
MG12-16_E.book Page 29 Monday, May 26, 2003 1:14 PM

Dimensional Diagrams

I MG16/4

H 108 101.3

D 416.6 309.6

When mounted on rack

I MG12/4

H 108 102.6

D 416.6 325.6

317.4 480

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Block Diagram and Level Diagram

Page 31

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
Hyo4.fm Page 32 Thursday, December 11, 2003 9:07 AM
Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2002 Yamaha Corporation V981800 312CRCR68.2-06D0 Printed in China

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/spanish/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2002 Yamaha Corporation V981830 312CRCR4.3-05D0 Printed in China