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Yamaha MG16 6FX

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About

Yamaha MG16 6FXRoad Ready RRMG16E Case for Yamaha MG16 MXR - Good
Yamaha MG 16/4 and MG16/6FX not included - ZRC1044: Features: -Designed to fit the Yamaha MG 16/4 FX and MG 16/6 FX mixer. -Features a heavy-duty removable, latchable cover. -No pressure design to protect your mixer controls. -Unique low profile base design. -Allows you to access your mixers rear connection panel. -Made for the journey and built to hold strong in high stress situations. -Dimensions: 8" H x 22" W x 20" D.Weight:18 lbs

Details
Brand: Road Ready
Part Number: RRMG16E
UPC: 821525002894

 

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Interference from Cell Phones
XLR-type connectors are wired as follows Pin 1: ground; Pin 2: hot (+); Pin 3: cold (). INSERT TRS phone jacks are wired as follows Sleeve: ground; Tip: send; Ring: return.
Use of a mobile phone near this unit may induce noise. If noise occurs, move the phone further from the unit.
Replacement of Consumable Parts
The performance of components with movable contactssuch as switches, rotary controls, faders, and connectorsdeteriorates over time. While the rate of wear may vary greatly according to usage conditions, some amount of wear is unavoidable. When parts wear out, consult your dealer about appropriate replacements.
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 commercially available music data and/or digital audio les, except for personal use, is strictly prohibited. Illustrations in this manual are for explanatory purposes only, and may not match the actual appearance of the product during operation. Company names and product names used in this Owners Manual are trademarks or registered trademarks of their respective owners.

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.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)
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).
MG16-6FX.book Page 4 Saturday, January 25, 2003 10:13 AM

Introduction

Thank you for your purchase of the YAMAHA MG16/6FX 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 this 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.. 19 Channel Control Section. 19 Master Control Section.. 21 Rear Input/Output Section.. 23 Setting Up... 25 Setup Procedure.. 25 Setup Examples.. 25 Rack Mounting... 27 Appendix... 28 Specications.. 28 Dimensional Diagrams.. 30 Block Diagram and Level Diagram.. 31
The MG16/6FX provides 16 input channels and mixes the signals into Stereo and Group outputs. With high-quality digital effects built in, the MG16/6FX can deliver a wide range of sound variations even when used on its own. It also includes an EFFECT SEND jack that can be used to connect an external effector. 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. These jacks make it possible to insert different effectors into different channels. Input channels 1 to 8, 9/10, and 11/12 are each equipped with both an XLR mic input jack and a TRS phone-type line jack. Input channels 13/14 and 15/16 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.

MG16-6FX.book Page 5 Saturday, January 25, 2003 10:13 AM
Before Turning on the Mixer
(1) Be sure that the mixers power switch is in the STANDBY position.
Use only the PA-30 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.
MG16-6FX.book Page 6 Saturday, January 25, 2003 10:13 AM

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.
MG16-6FX.book Page 7 Saturday, January 25, 2003 10:13 AM
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.

MG16-6FX.book Page 12 Saturday, January 25, 2003 10:13 AM
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.
MG16-6FX.book Page 13 Saturday, January 25, 2003 10:13 AM
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.

Boost With Caution

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

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.
MG16-6FX.book Page 18 Saturday, January 25, 2003 10:13 AM

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.
5-5. Built-in Effects & EQ
Your MG mixer features a high-performance internal effect system and graphic equalizer that offers extraordinary sound-processing power and versatility without the need for external equipment. The internal DSP (Digital Signal Processor) lets you individually add reverb and delay to each channel in the same way that you can with an external effect unit but you dont need to wire up any extra gear, and wont suffer the signal quality loss that external connections sometimes entail. The graphic equalizer is ideal for shaping the response of the overall mix, and for minimizing feedback in live situations. For details see page 22.

B 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.

7 EFFECT Control

Adjusts the level of the signal sent from the channel to the EFFECT bus. Note that the signal level will also vary according to the setting of the channel fader. If you are using stereo channels (CHs 9/10, 11/12, 13/14, 15/16), the signals from the L (odd) and R (even) channels are mixed and then sent to the EFFECT bus.
8 PAN Control (CHs 1 to 8) PAN/BAL Control (9/10 and 11/12) BAL Control (13/14 and 15/16)
The PAN control determines the positioning of the channels signal on the Group 1-2/3-4 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 1/3 bus or to the Stereo L bus; signals into the R input (even channel) feed to the Group 2/4 bus or the Stereo R bus.
On channels where this knob provides both PAN and BAL controls (9/10 and 11/12), 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.

MG16-6FX.fm

Page 21
Thursday, December 11, 2003

9:15 AM

Master Control Section

3 TO ST Switch

If this switch is on ( ), the mixer sends the signals processed by the GROUP faders (2) onto the Stereo bus. The Group 1/3 signal go to Stereo L and the Group 2/4 signal go to Stereo R.

4 Master SEND

AUX1 and AUX2 Controls Adjust the level of the signal output to the AUX1 SEND and AUX2 SEND jacks. Master EFFECT Control Adjusts the level of the signal on the EFFECT bus. This is the signal that is output through the EFFECT jack.
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.
MG16-6FX.book Page 22 Saturday, January 25, 2003 10:13 AM
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.
MG16-6FX.fm Page 23 Wednesday, January 29, 2003 6:04 PM
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.

1 Channel Input Jacks

MIC jacks (CHs 1 to 8, 9/10, 11/12) These are balanced XLR-type input jacks. LINE jacks (CHs 1 to 8) These are balanced phone-type input jacks. You can connect either balanced or unbalanced phone plugs to these jacks.
Where an input channel provides both a MIC jack and a LINE 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.

2 INSERT I/O Jacks

These are unbalanced phone-type input/output jacks. Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (CHs 1 to 8). 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.
4 GROUP OUT (1 to 4) Jacks
These are impedance-balanced phone-type output jacks that output the Group 1-2/3-4 signals. Use these jacks to connect to the input jacks of an MTR, external mixer, or other such device.
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

5 ST OUT (L, R) Jacks

These jacks output the mixed signal whose level is adjusted by the ST fader in the Master Control section. Output is in stereo (L and R). You use these jacks, for example, to connect to the power amplier driving your main speakers. XLR jacks XLR-type balanced output jacks. Phone jacks TRS phone-type balanced output jacks.
To the INSERT I/O jack Sleeve Sleeve Ring Tip To the output jack of the external processor Tip
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.
MG16-6FX.fm Page 24 Wednesday, January 29, 2003 6:04 PM

6 C-R OUT Jacks

These are impedance-balanced phone-type output jacks. These jacks output the mixed signal whose level is adjusted by the C-R/PHONES control. Output is in stereo (L and R). These jacks are typically used to connect to a monitor system.

9 REC OUT (L, R) Jacks

These are unbalanced RCA-pin-type output jacks. By connecting these jacks to an external recorder, you can record the same signal that is being output from the ST OUT jacks.

The mixers ST Master Fader does not operate on the signal output from these jacks. Be sure to make appropriate level adjustments at the external recording device.

7 SEND Jacks

AUX1, AUX2 These are impedance-balanced phone-type output jacks. These jacks output the signal from AUX1 and AUX2, respectively. You use these jacks, for example, to connect to an effector or to a cue box or other such monitoring system. EFFECT This is an impedance-balanced phone-type output jack that outputs the signal from the EFFECT bus. You use this jack, for example, to connect to an external effector.

0 2TR IN Jacks

These unbalanced RCA-pin-type input jacks are used to input a stereo sound source. Use these jacks when you want to connect a stereo sound sources (CD or DAT) directly to the mixer for monitoring.
You can adjust the signal level using the 2TR IN control in the Master Control section.

A POWER Switch

Use this switch to set the mixer power to ON or STANDBY.
8 RETURN L (MONO), R Jacks
These are unbalanced phone-type 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. 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, be sure to unplug the adaptor from the wall outlet.
B AC ADAPTOR IN Connector
Connects to the included PA-30 power adaptor (see page 5).
Use only the PA-30 adaptor included with this mixer. Use of a different adaptor may result in re or electric shock.

Connector Polarities

INPUT OUTPUT

MIC INPUT, ST OUT

Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground

Sleeve Tip

LINE INPUT (monaural channels), GROUP OUT, ST OUT, C-R OUT, AUX1, AUX2, EFFECT*

INSERT I/O

PHONES
Tip: L Ring: R Sleeve: Ground
RETURN, LINE INPUT (stereo channels)

Tip: Hot Sleeve: Ground

* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.
MG16-6FX.book Page 25 Saturday, January 25, 2003 10:13 AM

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
MG16-6FX.book Page 26 Saturday, January 25, 2003 10:13 AM
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
MG16-6FX.book Page 27 Saturday, January 25, 2003 10:13 AM

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.
MG16-6FX.fm Page 28 Friday, June 27, 2003 4:09 PM

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
Graphic Equalizer Internal Digital Effects 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
Rs = 150 ohms 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.
MG16-6FX.fm Page 29 Friday, June 27, 2003 4:09 PM

I Input Specications

Input Connector Gain 60 MIC INPUT (CHs 1 to 8) LINE INPUT (CHs 1 to 8) +3 k 10 k +line 10 dBu (245 mV) 10 k 600 line 30 dBu (24.5 mV) 20 dBu (77.5 mV) 12 dBu (195 mV) 26 dBV (50.1 mV) +10 dBu (2.45 V) 10 dBu (245 mV) 0 dBu (0.775 V) +4 dBu (1.23 V) 10 dBV (316 mV) +30 dBu (24.5 V) +10 dBu (2.45 V) +20 dBu (7.75 V) +24 dBu (12.3 V) +10 dBV (3.16 V) Phone jack (unbalanced); RCA pin jack Phone jack (TRS) (unbalanced [T: out; R: in; S: ground]) Phone jack (TRS) (unbalanced [T: hot; S: ground]) RCA pin jack 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) 10 k 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) 3 k 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
ST CH MIC INPUT (CH9(L)/CH10(R), CH11(L)/CH12(R))
ST CH LINE INPUT (CH9(L)/CH10(R), CH11(L)/CH12(R)) ST CH INPUT (CH13(L)/CH14(R), CH15(L)/CH16(R)) CH INSERT IN (CHs 1 to 8) AUX RETURN (L, R) 2TR IN (L, R)

600 line

10 k 10 k

600 line 600 line

Where 0 dBu = 0.775 V and 0 dBV= 1 V * Input sensitivity: the lowest level that will produce the nominal output level when the unit is set to maximum gain.

I Output Specications

Output Connectors Output Impedance 150 Appropriate Impedance 600 line Rated Level Max. Before Clipping Connector Specications

doc1

MG16/6FX

Para una utilizacin correcta
Asignacin de las patillas de los conectores
Los conectores de tipo XLR se conectan del modo siguiente Patilla 1: masa; patilla 2: activo (+); patilla 3: pasivo (). Las clavijas telefnicas INSERT TRS se conectan del modo siguiente Manguito: masa; punta: envo; anillo: retorno.
Interferencias provocadas por telfonos celulares
El uso de un telfono mvil cerca de esta unidad puede provocar ruidos. Si se produce ruido, aleje el telfono de la unidad.
Sustitucin de piezas desgastadas
El rendimiento de los componentes con contactos mviles como interruptores, mandos giratorios, potencimetros y conectores se deteriora con el tiempo. Aunque puede variar en funcin de las condiciones de uso, un cierto grado de desgaste resulta inevitable. Cuando se desgasten piezas, consulte a su proveedor acerca de los repuestos apropiados.
Apague siempre la mesa de mezclas cuando no la utilice. Aun cuando el interruptor se encuentre en la posicin STANDBY, sigue circulando un nivel mnimo de electricidad por la mesa de mezclas. Cuando no vaya a utilizar la mesa de mezclas durante un periodo prolongado de tiempo, desenchufe el adaptador de corriente alterna de la red elctrica.
La copia de msica disponible comercialmente o archivos de audio digital est estrictamente prohibida salvo para su uso personal. Las ilustraciones contenidas en este manual se incluyen a ttulo explicativo y es posible que no se ajusten al aspecto real del producto durante la utilizacin. Los nombres de empresas y de productos que se citan en este manual de instrucciones son marcas comerciales o marcas registradas de sus respectivos propietarios.

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

 

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