MG206C-USB, MG166CX-USB, MG166C-USB

Mixing Consoles

12U 12U 12U
MG206C-USB MG166CX-USB MG166C-USB
These versatile analog mixers feature digital bus connectivity for direct digital recording with the supplied Cubase AI4 software.
16 or 20 inputs in remarkably lightweight, portable designs. The supplied Cubase AI4 software communicates directly with the stereo buses via USB for audio recording and
editing, and features a range of MIDI sequencing capabilities, an entire suite of VST effect plug-ins, and a HALion One sample player with selected waves from the famed Yamaha Motif synthesizers. Innovative Yamaha one-knob compressor. MG166CX-USB features a built-in digital SPX multi-effect processor. High-quality Neutrik balanced XLR connectors on mono microphone/line channels and XLR-equipped stereo channels. Top-mounted input and output connectors for easy setup and re-patching. High-performance microphone preamplifiers with switchable phantom power. 3-band mid-sweep and high-pass filters. Smooth 60-millimeter faders & illuminated channel ON switches. Main stereo bus plus two additional stereo group buses and outputs for convenient channel grouping. AUX sends with master send controls for convenient processing and monitoring. Return level controls for the AUX and STEREO buses. Bright meters for visual level monitoring. Rack mountable.

OPTIONS

Foot Switch

for MG166CX-USB

GENERAL SPECIFICATIONS
USB Audio Mic/Line inputs Line inputs Mixer input channels Group buses AUX buses Main buses Total harmonic distortion (THD+N) Frequency response Hum and noise level Crosstalk (@1kHz) Power supply adaptor Power consumption Dimensions (W x H x D) Net weight MG206C-USB Input / Output: 44.1 / 48Hz mono + 4 stereo 4 Stereo Less than 0.1%, 20Hz-20kHz 0, +1, -3dB , 20Hz-20kHz Equivalent input noise (EIN): -128dBu Residual output noise: -98dBu -70dB PA-30 AC adaptor (AC35VCT, 1.4A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 40W MG166CX-USB mono + 4 stereo 3 Stereo MG166C-USB

30W 5.3kg (11.7lbs)

478 x 105 [102: MG206C-USB] x 496mm (18.8" x 4.1" [4.0: MG206C-USB] x 19.5") 478 x 105 (102: MG206C-USB) x 496mm 6.0kg (13.2lbs) 5.5kg (12.1lbs)
Hum and noise are measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation.

INPUT SPECIFICATIONS

Terminal Gain Actual Load For Use With Impedance Nominal Input Level Sensitivity Nominal -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -34dBu +10dBu 0dBu +4dBu -10dBV Max. Before Clip Connector

OUTPUT SPECIFICATIONS

Terminal Actual Source For Use With Impedance Nominal Output Level Nominal Max. before Clip +24dBu +20dBu +20dBu +20dBu +10dBV +20dBu 75mW Connector
CH IN MIC (1-12) CH IN LINE (1-12) ST CH MIC IN (13/14-19/20) ST CH LINE IN (13/14, 15/16) ST CH LINE IN (17/18, 19/20) CH INSERT IN (1-12) RETURN [L,R] 2TR IN [L,R] USB
-60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB -34dB +10dB -
3k 10k 3k 10k 10k 10k 10k 10k 10k -
MG206C-USB -80dBu 50-600 Mics -36dBu -54dBu 600 Lines -10dBu -80dBu 50-600 Mics -36dBu -54dBu 600 Lines -10dBu -54dBu 600 Lines -10dBu 600 Lines 600 Lines 600 Lines 600 Lines -20dBu -12dBu -26dBV -
MG206C-USB -40dBu XLR-3-31 type* +4dBu -14dBu TRS phone jack* +30dBu -40dBu XLR-3-31 type* -6dBu -14dBu Phone jack** +30dBu -14dBu Phone jack** +30dBu
Phone jack** RCA pin jack**
STEREO OUT [L,R] GROUP OUT [1-4] AUX SEND (1-4) CH INSERT OUT (1-12) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT USB

*** : Impedance balanced

600 Lines 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines -
+4dBu +4dBu +4dBu 0dBu -10dBV +4dBu 3mW -

XLR 3-32 type* Phone jack* TRS phone jack*** TRS phone jack*** TRS phone jack** RCA pin jack** TRS phone jack*** Stereo phone jack** USB B type
+20dBu TRS phone jack** +24dBu Phone jack** +10dBV RCA pin jack**
MG166C-USB, MG166CX-USB USB B type STEREO OUT [L,R] GROUP OUT [1-4] AUX SEND (1-3, EFFECT SEND) CH INSERT OUT (1-8) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT USB
+24dBu +20dBu +20dBu +20dBu +10dBV +20dBu 75mW -
XLR 3-32 type* TRS Phone jack* TRS Phone jack*** TRS Phone jack*** TRS phone jack** RCA pin jack** TRS phone jack* Stereo phone jack** USB B type
CH IN MIC (1-8) CH IN LINE (1-8) ST CH MIC IN (9/10, 11/12) ST CH LINE IN (9/10, 11/12) ST CH IN (13/14, 15/16) CH INSERT IN (1-8) RETURN [L,R] 2TR IN [L,R] USB
-60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB -
MG166C-USB, MG166CX-USB -80dBu -60dBu 50-600 Mics -36dBu -16dBu -54dBu -34dBu 10k 600 Lines -10dBu +10dBu 3k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines -80dBu -36dBu -54dBu -10dBu -30dBu -20dBu -12dBu -26dBV -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV -
-40dBu XLR-3-31 type* +4dBu -14dBu TRS phone jack* +30dBu -40dBu XLR-3-31 type* -6dBu -14dBu Phone jack** +30dBu +10dBu Phone jack** RCA pin jack
+20dBu TRS phone jack** +24dBu Phone jack** +10dBV RCA pin jack** USB B type

DIMENSIONS

unit : mm
478 Sensitivity is the lowest level that will produce the nominal output level when the unit is set to maximum level.

105 (102:MG206C-USB)

MG166C, MG166CX, MG206C, MG166C-USB, MG166CX-USB, MG206C-USB

* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires)
COMPLIANCE INFORMATION STATEMENT (DECLARATION OF CONFORMITY PROCEDURE)
Responsible Party : Address : Telephone : Type of Equipment : Model Name : Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620 714-522-9011 Mixing Console MG206C-USB/MG166CX-USB/MG166C-USB
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1) this device may not cause harmful interference, and 2) this device must accept any interference received including interference that may cause undesired operation. See user manual instructions if interference to radio reception is suspected.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (FCC DoC)

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)

MG206C-USB/MG166CX-USB/MG166C-USB Owners Manual

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, re or other hazards. These precautions include, but are not limited to, the following:

Power supply/Power cord

Only use the voltage specied as correct for the device. The required voltage is printed on the name plate of the device. Use only the included power adaptor (PA-30 or an equivalent recommended by Yamaha). Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Water warning

Do not expose the device to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. Never insert or remove an electric plug with wet hands.
If you notice any abnormality
If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the device, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel. If this device or the AC power adaptor should be dropped or damaged, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel.

Do not open

Do not open the device or attempt to disassemble the internal parts or modify them in any way. The device contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualied Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following:

Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. When removing the electric plug from the device or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. To avoid generating unwanted noise, make sure there is adequate distance (50 cm or more) between the AC power adaptor and the device. Do not cover or wrap the AC power adaptor with a cloth or blanket. Do not place the device in an unstable position where it might accidentally fall over. Do not block the vents. This device has ventilation holes at the bottom/rear to prevent the internal temperature from becoming too high. In particular, do not place the device on its side or upside down. Inadequate ventilation can result in overheating, possibly causing damage to the device(s), or even re. Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Doing so may result in noise, both in the device itself and in the TV or radio next to it.

Location

Before moving the device, remove all connected cables. When setting up the device, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. Even when the power switch is turned off, electricity is still owing to the product all the minimum level. When you are not using the product for a long time, make sure to unplug the power cord from the wall AC outlet. If this device is to be mounted in an EIA-standard rack, leave the back of the rack open and make sure that it is at least 10 cm away from walls or surfaces. Also, if this device is to be mounted with devices that tend to generate heat, such as power ampliers, be sure to keep an adequate gap between this device and the heat-generating devices or install ventilation panels to prevent high temperatures from developing inside this device. Inadequate ventilation can result in overheating, possibly causing damage to the device(s), or even re. Avoid setting all equalizer controls and faders to their maximum. Depending on the condition of the connected devices, doing so may cause feedback and may damage the speakers. Do not expose the device to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disguration or damage to the internal components.

Connections

Before connecting the device to other devices, turn off the power for all devices. Before turning the power on or off for all devices, set all volume levels to minimum.

Handling caution

When turning on the AC power in your audio system, always turn on the power amplier LAST, to avoid speaker damage. When turning the power off, the power amplier should be turned off FIRST for the same reason. Do not insert your ngers or hands in any gaps or openings on the device (vents, etc.). Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device (vents, etc.) If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the device inspected by qualied Yamaha service personnel. Do not use the device or headphones for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. Do not rest your weight on the device or place heavy objects on it, and avoid use excessive force on the buttons, switches or connectors.

XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-). Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return.
Yamaha cannot be held responsible for damage caused by improper use or modications to the device, or data that is lost or destroyed.
Always turn the power off when the device is not in use. Even when the power switch is in the STANDBY position, electricity is still owing to the device at the minimum level. When you are not using the device for a long time, make sure you unplug the power cord from the wall AC outlet. The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult quali ed Yamaha service personnel about replacing defective components.
The MG mixer may heat up by as much as 15 to 20C while the power is on. This is normal. Please note that the panel temperature may exceed 50C in ambient temperatures higher than 30C, and use caution to prevent burns. * This Owners Manual applies to the MG206C-USB/MG166CX-USB/MG166C-USB. The main differences between the three models are the number of input channels and whether the internal effects are included. The MG206C-USB has 20 input channels while the MG166CX-USB/MG166C-USB have 16 channels. And only the MG166CXUSB has internal effects. * In this manual the term MG mixsers refers to the MG206C-USB/MG166CX-USB/MG166C-USB. Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all copyrights, and consult with a copyright specialist if you are in doubt about permissible use. Specications and descriptions in this owners manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

SPECIAL NOTICES

The owners manual is the exclusive copyright of Yamaha Corporation. The included software is the exclusive copyright of Steinberg Media Technologies GmbH. Use of the software and this manual is governed by the license agreement which the purchaser fully agrees to upon breaking the seal of the software packaging. (Please read carefully the Software Licensing Agreement at the end of this manual before installing the application.) Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. This disk is a DVD-ROM. Do not attempt to play the disk on a DVD player. Doing so may result in irreparable damage to your DVD player. Visit the web address below for the latest information on supplied software and operating system requirements. <http://www.yamahasynth.com/> The illustrations and LCD screens as shown in this owners manual are for instructional purposes only, and may appear somewhat different from those on your instrument. This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others copyrights. Such copyrighted materials include, without limitation, all computer software, style les, MIDI les, WAVE data, musical scores and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DONT MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. Copying of the commercially available musical data including but not limited to MIDI data and/or audio data is strictly prohibited except for your personal use. Windows is the registered trademarks of Microsoft Corporation. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Steinberg and Cubase are the registered trademarks of Steinberg Media Technologies GmbH. The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies. 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.

USB cable

Although electric guitars and basses can be connected directly to the mixers inputs, the sound is likely to be thin and possibly noisy. For best results with these types of instruments use a DI box (direct box) or amp simulator between the instrument and the mixer.
To minimize the possibility of speaker damage, turn phantom power on ONLY while your power amplier or powered speakers are switched off. Its also a good idea to turn the mixers output controlsSTEREO OUT Master fader , GROUP 1-2 fader and GROUP 3-4 faderall the way down.
We recommend that you set the computer output to the maximum level and mute the computers internal speaker. For details on how to make the setting refer to the The recorded sound is too low in level. in the Troubleshooting on page 24. The rst time you connect to the computers USB connector, or change the connection to a different USB port, a driver installation display may appear after turning the power to the MG mixer on. If this occurs, wait until the installation is complete before proceeding.
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. Cable Guidelines
Microphone cable Short line-level cables Balanced is best. Unbalanced cable is ne in a relatively noise-free environment. Balanced is best.
Balanced noise cancellation
Hot (+) Cold () Phase inversion Ground Phase inversion Noise cancelled Source Cable Receiving device Noise-free signal

Long line-level cables

4 Adjusting Level and Tone

Compression

Level Adjustment
The rst step is to set the level controls on all instruments and other sources appropriately. Adjust the channel GAIN controls so that the corresponding PEAK indicators ash briey on the highest peak levels. Engage the ON and ST switches of the input channels that you would like to record. Make sure that the PFL switch is off ( ), and that the MONITOR switch is set to STEREO ( ). Raise the STEREO OUT Master fader to the 0 dB position. Set the channel faders to create the desired initial balance while monitoring via headphones or monitor speakers. The overall headphone level is adjusted by the MONITOR/PHONES control.

MONITOR/PHONES control

One form of compression known as limiting can, when properly used, produce a smooth, unied sound with no excessive peaks or distortion. A common example of the use of compression is to tame a vocal that has a wide dynamic range in order to tighten up the mix. Compression can also be applied to guitar tracks to add extra sustain. Too much compression can be a cause of feedback, however, so use it sparingly.

OUTPUT

(Min) (Max)

Equalizer Tips

The best advice that can be given regarding equalization while recording is simply to use as little equalization as possible. If you want a little more presence you can turn the HIGH end up a bit. Or you can boost the bass a little if you feel the low end is lacking. During recording its better to use EQ sparingly for compensation only.

Cut for a Cleaner Mix

GAIN control PEAK indicator
ON switch PFL switch ST switch
For example: pianos 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 piano 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. Naturally you wont want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. Youll have to use your ears, though, because each instrument is different and sometimes youll want the snap of a bass guitar, for example, to come through.
The fundamental and harmonic some musical instruments. frequency ranges of

Channel fader

Cymbal
STEREO OUT Master fader MONITOR switch
Bass Drum Snare Drum Bass

When the nal mix adjustments have been made, go to the [File] menu and select [Export] [Audio Mixdown].

Click [Export].

Progress of the mixdown operation will be shown in a progress window. When the progress window closes the mixdown is complete.
Wave les created by mixdown can be directly played back using the Windows Media Player, or iTunes on a Macintosh computer.
Use the Built-in Digital Effects to Rene Your Mixes (Only MG166CX-USB)

Reverb and Delay Time

Reverb Level
The optimum reverb time for a piece of music will depend on the musics tempo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to uptempo tunes. Delay times can be adjusted to create a wide variety of grooves. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tunes tempo.
Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly ne. To avoid falling into this trap start with reverb level all the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a special effect.

Reverb Tone

For details on the modulation effects, refer to Digital Effect Program List (Only MG166CX-USB) on page 23.
Different reverb programs will have different reverb tone due to differences in the reverb time of the high or low frequencies. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. Its always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix.

Reference

Powered monitor speakers

Guitar

Rear panel

Recorder

Effect processor

XLR jacks

2 SEND Jacks (AUX, EFFECT)
These impedance balanced* TRS phone jacks output the signals from the AUX/EFFECT buses. The pre-fader send option should be selected if you are connecting to a monitor system, while the post-fader send option is the best choice when connecting to external signal processors (e.g. effects units). See AUX, EFFECT Control on page 18 for information on the types of signals sent by the AUX and EFFECT controls on each mixer model.
XLR-type balanced output jacks.

LINE jacks

TRS phone-type balanced output jacks.

8 MONITOR OUT jacks

These are impedance-balanced* TRS phone-type output jacks.
3 GROUP OUT (1 to 4) Jacks
These impedance-balanced* TRS phone jacks output the GROUP 1/2 and 3/4 signals. Use these jacks to connect to the input jacks of an multi-track recorder, external mixer, or other such device.
The signal output by these jacks is determined by the MONITOR switch, the 2TR IN/USB switch, and the PFL switches on the input channels.

9 PHONES Jack

Connect a pair of headphones to this TRS phone-type output jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks.

4 REC OUT (L, R) Jacks

These RCA pin jacks can be connected to an external recorder such as an MD recorder in order to record the same signal that is being output via the STEREO OUT jacks.

0 PHANTOM +48 V Switch

This switch toggles phantom power on and off. When the switch is on the mixer supplies +48V phantom power to all channels that have XLR mic input jacks. Turn this switch on when using one or more phantom-powered condenser microphones.
The mixers STEREO OUT Master fader has no affect on the signal output via these jacks. Be sure to make appropriate level adjustments at the recording device.

5 2TR IN Jacks

These RCA pin jacks input a stereo sound source. Use these jacks when you want to connect a CD player directly to the mixer.

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 if you do not need phantom power.
Select where you want to send the signal using the 2TR IN/USB switch, and adjust the signal level using the 2TR IN/USB control in the Master Control section. If signals are input via both the 2TR IN jacks and the USB connector, the signals are mixed.
When turning the switch on, be sure that only condenser microphones are connected to the XLR input jacks. Devices other than condenser mics may be damaged if connected to the phantom power supply. Note, however, that the switch may be left on when connecting to balanced dynamic microphones. To prevent damage to speakers, be sure to turn off power ampliers (or powered speakers) before turning this switch on or off. We also recommend that you turn all output controls (STEREO OUT Master fader, GROUP 1-2 fader, GROUP 3-4 fader, etc.) to their minimum settings before operating the switch to avoid the risk of loud noises that could cause hearing loss or device damage.
6 RETURN L (MONO), R Jacks
These are unbalanced phone-jack type line inputs. The signal received by these jacks can be sent to the STEREO L/R bus as well as the AUX1 and AUX2 buses. When a stereo signal is returned a mono mix of the signal is sent to the AUX1 and AUX2 buses. These jacks are typically used to receive the signal returned from an external effect device (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 send the identical signal to both the L and R jacks.

A POWER Indicator

This indicator lights when the mixers power is ON.
* impedance balanced Since the hot and cold terminals of impedance balanced output jacks have the same impedance, these output jacks are less affected by induced noise.

B Level Meter

This LED meter displays the level of the signal selected by the MONITOR switch E, 2TR IN/USB switch F and PFL switch. The 0 segment corresponds to the nominal output level. The PEAK indicator lights red when the output reaches the clipping level.
The following illustration shows how the switch settings correspond to the signal selection.
Switches PFL ON MONITOR/ PHONES 2TR IN/USB Signals output via the MONITOR/PHONES jacks PFL

C RETURN

AUX1, AUX2 Control
Adjusts the level at which the L/R signal received at the RETURN jacks (L (MONO) and R) is sent to the AUX1 and AUX2 buses.

If this switch is on, the signals are sent to the STEREO L/R bus via the GROUP 1-2 fader or GROUP 3-4 fader. The GROUP 1 and 3 signals go to STEREO L and the GROUP 2 and 4 signals go to STEREO R.
If this switch is set to TO MONITOR ( ), the signals input via the 2TR IN jacks and the USB connector are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R bus.

2TR IN/USB Control

J STEREO OUT Master Fader
Adjusts the signal level sent to the STEREO OUT jacks.
Adjusts the level of the signal sent from the 2TR IN jacks and the USB connector.
Digital Effect Program List (Only MG166CX-USB)
No 13 Program REVERB HALL 1 REVERB HALL 2 REVERB ROOM 1 REVERB ROOM 2 REVERB STAGE 1 REVERB STAGE 2 REVERB PLATE DRUM AMBIENCE KARAOKE ECHO VOCAL ECHO CHORUS 1 CHORUS 2 FLANGER Parameter REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME DELAY TIME DELAY TIME LFO Frequency LFO Frequency LFO Frequency Description Reverb simulating a large space such as a concert hall.
Reverb simulating the acoustics of a small space (room).
Reverb simulating a large stage. Simulation of a metal-plate reverb unit, producing a more hard-edged sound. A short reverb that is ideal for use with kick drum. Echo designed for karaoke (sing-along) applications. Echo suitable for vocals. Creates a thick sound by modulating the delay time. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. A sweeping pitched effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Phase modulation produces a cyclical phasing effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. A wah-wah effect with cyclical lter modulation. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Adds a sharp-edged distortion to the sound.

PHASER

LFO Frequency

AUTO WAH DISTORTION

LFO Frequency DRIVE
* LFO stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape.

Jack List

Input and Output Jacks Polarities Congurations INPUT MIC INPUT, STEREO OUT Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () XLR Jack LINE INPUT (monaural channels) GROUP OUT, STEREO OUT, MONITOR OUT, AUX SEND, EFFECT SEND (Only MG166CX-USB)* INSERT Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Sleeve Tip TRS Phone Jack OUTPUT

The recorded sound is too low in level.
Is the computers output level setting too low? We recommend that you set the computer output to the maximum level and mute the computers internal speaker. Windows: 1. From the [START] menu click [Control Panel], then double-click the Sounds and Audio Devices icon to open the Sounds and Audio Devices Properties dialog window. 2. Click the Volume tab. 3. Set Device volume to High. 4. Click the Sound tab. 5. Select No sound in the Sound scheme. Macintosh: 1. Select [System Preferences.] from the Apple menu and then select Sound to open the Sound dialog window. 2. Click the Output tab and set the volume slider at the bottom of the window to its maximum level. 3. Click the Sound Effect tab and set the volume slider of the Alert volume slider to its minimum level. Have you connected or disconnected the USB cable while Cubase AI 4 is running? Doing so can sometimes cause the Windows output level to be reset to its default level. Check and raise the output level if necessary.
The sound is intermittent or distorted.
Does the computer you are using meet the listed system requirements? Refer to Computer System Requirements on page 6 for details. Are any other applications, device drivers, or USB devices (scanners, printers, etc.) running at the same time? Be sure to quit all applications you are not using. Are you playing back a large number of audio tracks? The number of tracks you can play at the same time will depend on the performance of the computer you are using. You may experience intermittent playback if you exceed your computers capabilities. Are you recording or playing long continuous sections of audio? The audio data processing capabilities of your computer will depend on a number of factors including CPU speed and access to external devices. On Windows computers, changing some settings as outlined below can improve performance. 1. Click [Control Panel] from the [START] menu, and double-click the Sounds and Audio Devices icon to open the Sounds and Audio Devices Properties dialog window. 2. Click the Volume tab and click Advanced in Speaker settings. The Advanced Audio Properties dialog window will open. 3. Click the Performance tab. Set Hardware acceleration to Full, and Sample rate conversion quality to Good. Dont change these settings if you are not familiar with your computers operating system. Check that the file system is set properly, and make sure that you have a plenty of free memory (more than 128 megabytes). If the wave files you are recording or playing are not too large, changing the virtual memory settings can sometimes improve audio performance. In some cases it might be necessary to update your hard disk controller, device drivers, or BIOS. Refer to your computers support center or support page on the web for more information. Try adding memory. Adding more RAM memory can significantly increase your computers audio performance. Refer to your computers owners manual for information on installing and setting up extra memory.

There is a delay when playing a software synthesizer via a MIDI keyboard (latency).
Check the URL listed below for the latest information. <http://www.yamahaproaudio.com/>

Specications

MG206C-USB Electrical Specications

MIN TYP MAX UNIT

Frequency Response
Total Harmonic Distortion (THD + N) Hum & Noise Hum & Noise are measured with a 6 dB/octave lter @ 12.7 kHz; equivalent to a 20 kHz lter with innite dB/octave attenuation. Crosstalk (1 kHz) Maximum voltage gain (1 kHz) All faders and controls are maximum when measured. PAN/BAL: panned hard left or hard right
STEREO OUT GROUP OUT AUX SEND MONITOR OUT, REC OUT STEREO OUT CH INPUT 112 MIC STEREO OUT GROUP OUT AUX SEND
GAIN: min (CHs 119/20) 20 Hz20 kHz Nominal output level @1 kHz Input: CHs 1 to 19/20, RETURN, 2TR IN +14 dBu @ 20 Hz20 kHz, Input GAIN Control at minimum EIN (Equivalent Input Noise): Rs = 150 , GAIN: maximum STEREO OUT, GROUP 1-2 fader and GROUP 3-4 fader at nominal level and all channels ST and 1-2, 3-4 switches off.
0.1 -128 -88 -81 -64 -98 -70 -62.27.8 48

Phantom Voltage

Master/AUX control at nominal level and all CH AUX controls at minimum. STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH GROUP OUT fader at nominal level. STEREO OUT Residual Output Noise Adjacent Input CHs 112 Input to Output STEREO L/R, CHs 112, PAN: panned hard left or right Rs = 150 MIC to CH INSERT OUT INPUT GAIN: maximum MIC to STEREO OUT MIC to GROUP OUT MIC to GROUP to ST MIC to REC OUT MIC to MONITOR OUT, ST TO MONITOR MIC to PHONES OUT MIC to AUX SEND PRE MIC to AUX SEND POST CH 17/18, 19/20 LINE to STEREO OUT CH 17/18, 19/20 LINE to GROUP OUT CH 17/18, 19/20 LINE to AUX SEND PRE CH 17/18, 19/20 LINE to AUX SEND POST Rs = 150 RETURN to STEREO OUT RETURN to AUX SEND Rs = 600 2TR IN to STEREO OUT MIC no load

General Specications

USB Audio Input HPF Input equalization 15 dB maximum Turn over/roll-off frequency of shelving: 3 dB blow maximum variable level. PEAK Indicator LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight Pre MONITOR Level STEREO/GROUP/PFL bus PA-30 CHs 112 Input/Output: 44.1/48 kHz 80 Hz, 12 dB/oct HIGH: 10 kHz (shelving) MID: 250 Hz5 kHz (peaking) LOW: 100 Hz (shelving) HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for CHs 13/1419/20) reaches -3 dB below clipping (+17 dBu). 2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB) PEAK lights if the signal level reaches 3 dB below the clipping level. AC 35 VCT, 1.4 A, Cable Length = 3.6 m 40 W 478 mm x 102 mm x 496 mm 6.0 kg

CH 13/1419/20

All faders are nominal if not specied. Output impedance of signal generator: 150 ohms

Reference Specifications

Analog Input Specications
Input Connectors Gain -60 dB 3k -16 dB -34 dB 10k +10 dB -60 dB 3k -16 dB -34 dB 10k +10 dB -34 dB 10k +10 dB 10k 10k 10k
Input Impedance Appropriate Impedance
Sensitivity * -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -54 dB (1.55 mV) -10 dBu (245 mV) -20 dBu (77.5 mV) -12 dBu (195 mV) -26 dBV (50.1 mV)
Nominal Level -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -34 dB (15.5 mV) +10 dBu (2.45 V) 0 dBu (0.775 V) +4 dBu (1.23 V) -10dBV (0.316V)
Max. before Clipping -40 dBu (7.75 mV) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 mV) -6 dBu (389 mV) -14 dBu (155 mV) +30 dBu (24.5 V) -14 dB (155 mV) +30 dBu (24.5 V) +20 dBu (7.75 V) +24 dBu (12.3 V) +10dBV (3.16 V)

Connector Specications

CH INPUT MIC (CHs 112)

50600 Mics

XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD])

CH INPUT LINE (CHs 112)

600 Lines
TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND])
ST CH MIC INPUT (CHs 13/1419/20)
ST CH LINE INPUT (CHs 13/14, 15/16)

Phone jack (unbalanced)

ST CH INPUT (CHs 17/18, 19/20) CH INSERT IN (CHs 112) RETURN (L, R) 2TR IN (L, R)
600 Lines 600 Lines 600 Lines 600 Lines
Phone jack (unbalanced) RCA pin jack TRS phone Jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) Phone jack (unbalanced) RCA pin jack
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to the maximum level. (All faders and level controls are at their maximum position.)
Analog Output Specications
Output Connectors Output Impedance 75 Appropriate Impedance 600 Lines Nominal Level Max. before clipping +24 dBu (12.3 V) Connector Specications XLR-3-32 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) RCA pin jack TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) TRS phone jack

STEREO OUT (L, R)

+4dBu (1.23 V)
GROUP OUT (14) AUX SEND (14) CH INSERT OUT (CHs 112) REC OUT (L, R) MONITOR OUT (L, R) PHONES OUT

150 100

10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40 Phones
+4dBu (1.23 V) +4dBu (1.23 V) 0 dBu (0.775 V) -10 dBV (0.316 V) +4 dBu (1.23 V) 3 mW
+20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +10 dBV (3.16 V) +20 dBu (7.75 V) 75 mW