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Owners Manual Bedienungsanleitung Mode demploi Manual de instrucciones

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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)

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.

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/MG166CX/MG166C. The main differences between the three models are the number of input channels and whether the internal effects are included. The MG206C has 20 input channels while the MG166CX/MG166C have 16 channels. And only the MG166CX has internal effects. * In this manual the term MG mixsers refers to the MG206C, MG166CX and MG166C. * Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation. * Company names and product names herein are trademarks or registered trademarks of their respective companies. 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.

Introduction

Thank you for your purchase of the Yamaha MG206C/MG166CX/MG166C mixing console. The MG206C/MG166CX/MG166C feature input channels suitable for a wide range of usage environments. And the MG166CX includes high-quality built-in digital effects that can provide some very serious sound. The mixer combines ease of operation with support for multiple usage environments. Please read through this 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.

Contents

Introduction.. 5
Contents...5 Before Turning on the Mixer..5 Turning the Power On..5
Before Turning on the Mixer
Be sure that the mixers power switch is in the STANDBY position.
Use only the included power adaptor (PA-30) or an equivalent recommended by Yamaha. Use of a different adaptor may result in equipment damage, overheating, or re.

Mixer Basics.. 6

Quick Guide.. 6 Making the Most of Your Mixer. 8
Balanced, Unbalanced Whats the Difference?..8 Signal Levels and the Decibel.8 To EQ or Not to EQ..9 Ambience..10 The Modulation Effects: Phasing, Chorus, and Flanging.10 Compression..10
Connect the power adaptor to the AC ADAPTOR IN connector (q) on the rear of the mixer, and then turn the fastening ring clockwise (w) to secure the connection.

Reference.. 11

Setup... 11 Front & Rear Panels.. 12
Channel Control Section..12 Digital Effects..15 Master Control Section..16 Digital Effect Program List (Only MG166CX).19 Jack List..19
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 50 cm or more between the power adaptor and the mixer.
Troubleshooting.. 20 Specifications.. 75

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.

Accessories

Owners Manual AC power adaptor (PA-30)*
* May not be included depending on your particular area. Please check with your Yamaha dealer.

Mixer Basics

Quick Guide
Getting Sound to the Speakers
We begin by connecting a pair of speakers and generating some stereo output. Note that operations and procedures will vary somewhat according to the input devices you are using.
Microphones, instruments Speakers

Power Amp

GAIN controls

1, 4 4

Headphones

Monitor Speakers

PEAK indicators

PHANTOM switch

Equalizer

Level meter

PAN/BAL switches
5 ON switches 4 PFL switches 5 ST switches 1, 7 Channel faders 1, 6, 7 STEREO OUT Master fader

1, 3 POWER switch

MG206C

Mixer Basics Quick Guide

Be sure that your mixer is turned off and that all level controls* are turned all the way down.
* STEREO OUT Master fader, Channel faders, GAIN controls, etc.
Turn on the ON and ST switches for each channel you are using. Set the STEREO OUT Master fader to the 0 position. Set the Channel faders to create the desired initial balance, then adjust the overall volume using the STEREO OUT Master fader.
Set the equalizer and the PAN/BAL controls to their positions.
Turn off any other external devices, then connect microphones, instruments, and speakers.
For information on connecting external devices see the Connection Example on page 11. Connect electric guitars and basses through an intermediary device such as a direct box, preamp, or amp simulator. Connecting these instruments directly to the MG mixer may result in degraded sound and noise.
To use the level meter to view the level being applied to the STEREO L/R buses, set the PFL switch off ( ) and the MONITOR switch to STEREO ( ). If the PEAK indicator lights frequently, lower the Channel faders a little to avoid distortion.
To avoid damage to your speakers, power up the devices in the following order: Peripheral devices MG mixer power amps (or powered speakers). Reverse this order when turning power off.
If you are using condenser microphones that require phantom power, turn the MG mixers phantom power switch on before turning on the power to the power amp or powered speakers. See page 17 for more detail.
Adjust the channel GAIN controls so that the corresponding PEAK indicators ash briey on the highest peak levels.

To use the level meter to get an accurate reading of the incoming signal level, turn the channel PFL switch on. Adjust the GAIN controls so that the level meter indication occasionally rises above the (0) level. Note that the PHONES jack outputs the prefader signal from all channels on which the PFL switch is ON so that those signals can be monitored via the headphones.
Making the Most of Your Mixer
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 first 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.
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 high-gain head amplier. Balanced noise cancellation

To summarize

Microphones Short linelevel runs Use balanced lines. Unbalanced lines are ne if youre in a relatively noisefree environment. The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best.
Hot (+) Cold () Phase inversion Ground
Phase inversion Noise cancelled

Noise-free signal

Long linelevel runs

Source Cable

Receiving device
Signal Levels and the Decibel
Lets take a look at one of the most commonly used units in Most professional mixers, audio: the decibel (dB). If the smallest sound that can be power ampliers, and other types of equipment have inputs heard by the human ear is given an arbitrary value of 1, then + 20 dBu and outputs with a nominal level the loudest sound that can be heard is approximately of +4 dBu. 1,000,000 (one million) times louder. Thats too many digits 0.775 V The inputs and outputs on 0 dBu to deal with for practical calculations, and so the more approhome-use audio gear usually priate decibel (dB) unit was created for sound-related meahave a nominal level of 7.8 dBu surements. In this system the difference between the softest (10 dBV). -20 dBu and loudest sounds that can be heard is 120 dB. This is a Microphone signal levels vary non-linear scale, and a difference of 3 dB actually results in a over a wide range depending on doubling or halving of the loudness. -40 dBu the type of microphone and the You might encounter a number of different varieties of the source. Average speech is dB: dBu, dBV, dBM and others, but the dBu is the basic deciabout 30 dBu, but the twitterbel unit. In the case of dBu, 0 dBu is specied as a signal -60 dBu ing of a bird might be lower than level of 0.775 volts. For example, if a microphones output 50 dBu while a solid bass level is -40 dBu (0.00775 V), then to raise that level to 0 dBu drum beat might produce a level (0.775 V) in the mixers preamp stage requires that the signal as high as 0 dBu. be amplied by 100 times. A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output levels as closely as possible. In most cases the nominal level for a mixers input and outputs is marked on the panel or listed in the owners manual.

Compression

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. With the right amount of compression youll be able to clearly hear whispered passages while passionate shouts are still well balanced in the mix. Compression can also be valuable on bass guitar. Too much compression can be a cause of feedback, however, so use it sparingly. Most compressors require several critical parameters to be set properly to achieve the desired sound. The MG compressor makes achieving great sound much easier: all you need to do is set a single compression control and all of the pertinent parameters are automatically adjusted for you. OUTPUT

Reverb Level

Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washedout 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.

The Modulation Effects:

Phasing, Chorus, and Flanging
All of these effects work on basically the same principle: a portion of the audio signal is time-shifted and then mixed back with the direct signal. The amount of time shift is controlled, or modulated, by an LFO (Low-frequency Oscillator). For phasing effects the shift is very small. The phase difference between the modulated and direct signals causes cancellation at some frequencies and reinforces the signal at others and this causes the shimmering sound we hear.

(Min) (Max)

Reference

Guitar

Rear panel
Recorder Powered monitor speakers Bass CD Player

Effect processor

Powered speakers Synthesizer Microphone DI
Effect processor (exciter)

Powered monitor speakers

Front & Rear Panels

Channel Control Section

MG206C MG166CX/MG166C
* A MG166C : EFFECT AUX3 Channels 1 to 8 (Monaural) Channels 9 to 12 (Monaural) Channels 13/14 and 15/16 (Stereo) Channels 17/18 and 19/20 (Stereo) Channels 1 to 6 (Monaural) Channels 7 and 8 (Monaural) Channels 9/10 and 11/12 (Stereo) Channels 13/14 and 15/16 (Stereo)

F 1-2 Switch

This switch assigns the channels signal to the GROUP 1/2 bus.
To send the signal to the GROUP 1/2 bus turn the ON switch on ( ).

G 3-4 Switch

This switch assigns the channels signal to the GROUP 3/4 bus.
To send the signal to the GROUP 3/4 bus turn the ON switch on ( ).

H ST Switch

This switch assigns the channels signal to the STEREO L/R bus.
To send the signal to the STEREO bus engage the ON switch ( ). On stereo channels, the L (odd) and R (even) input signals are mixed and sent to the AUX and EFFECT buses.
To send the signal to the STEREO bus turn the ON switch on ( ).

I Channel Fader

Adjusts the level of the channel signal. Use these faders to adjust the balance between the various channels.

B AUX PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX buses. If the switch is on ( ), the mixer sends the pre-fader signal to the AUX buses, so that AUX outputs are not affected by the channel fader I. If the switch is off ( ) the mixer sends the post-fader signal to the AUX buses.
Set the fader sliders for unused channels all the way down to minimize noise.

C PAN Control

PAN/BAL Control BAL Control
The PAN control determines the stereo positioning of the channel signal on the GROUP 1/2 and GROUP 3/4 buses or on the STEREO L/R bus. The BAL control knob sets the balance between left and right channels. Signals input to the L input (odd channel) go to the GROUP 1 or 3 buses or to the STEREO L bus; signals input to the R input (even channel) go to the GROUP 2 or 4 buses or the STEREO R bus.
On channels where this knob provides both PAN and BAL control, the knob operates as a PAN control when input is received via the MIC jack or L (MONO) input only, and as a BAL control when input is received via both L and R inputs.

Digital Effects

* Only the MG166CX has digital effects.

1 FOOT SWITCH Jack

A Yamaha FC5 foot switch (sold separately) can be connected to this jack and used to toggle the digital effects ON and OFF.

2 PROGRAM Dial

Selects one of the 16 internal effects. See page 19 for details about the internal effects.

5 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.).

0 POWER Indicator

This indicator lights when the mixers power is ON.

A Level Meter

This LED meter displays the level of the signal selected by the MONITOR switch D, 2TR IN switch E and PFL switch. The 0 segment corresponds to the nominal output level. The PEAK indicator lights red when the output reaches the clipping level.
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.

B RETURN

AUX1, AUX2 Control
6 STEREO OUT (L, R) Jacks
These jacks deliver the mixers stereo output. You use these jacks, for example, to connect to the power amplier driving your main speakers. You can also connect these jacks to a recording device when you wish to record mixers stereo output while using the STEREO OUT Master fader I for level control.

XLR jacks

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.

STEREO Control

Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus.
XLR-type balanced output jacks.

LINE jacks

TRS phone-type balanced output jacks.

7 MONITOR OUT jacks

These are impedance-balanced* TRS phone-type output jacks.
If you supply a signal to the RETURN L (MONO) jack only, the mixer sends the same signal to both the L and R STEREO buses. (MG206C) Signals input via the RETURN1 jacks are adjusted using the RETURN1 AUX1, AUX2 and the STEREO controls, and signals input via the RETURN2 jacks are adjusted using the RETURN2 AUX1, AUX2 and the STEREO controls.

Digital Effect Program List (Only MG166CX)
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)* INSERT Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground OUTPUT

Sleeve

Tip TRS Phone Jack

PHONES

RETURN LINE INPUT (stereo channels)

Tip: Hot Sleeve: Ground

Tip Phone Jack
* These jacks will also accept connection to phone plugs. If you use monaural plugs, the connection will be unbalanced.

Troubleshooting

Power doesnt come on.
Is the supplied power adaptor properly plugged into an appropriate AC wall outlet? Is the supplied power adaptor properly plugged into the mixer? Are microphones, external devices, and speakers connected correctly? Are the ON switch and ST switch of the channels you are using turned ON? Are the channel GAIN controls, Channel fader, STEREO OUT Master fader and GROUP 1-2/3-4 fader set to appropriate levels? Are the MONITOR switch and 2TR IN switch set properly? Are your speaker cables connected properly, or are they shorted? If the above checks do not identify the problem, call Yamaha for service. (Refer to the page 71 for a list of service centers.) Are the channel GAIN controls, Channel fader, STEREO OUT Master fader and GROUP 1-2/3-4 fader set to appropriate levels? Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA pin jacks on one channel? Please connect to only one of these jacks on each channel. Is the input signal from the connected device set to an appropriate level? Are you applying the effects at an appropriate level? Are microphones connected to the MIC input jacks? If you are using condenser microphones, is the PHANTOM +48 V switch turned ON? Check that the EFFECT control on each channel is correctly adjusted. Be sure that the internal effect units ON switch is turned ON. Be sure that the EFFECT PARAMETER control and EFFECT RTN fader are correctly adjusted. Be sure that the switches are ON. Adjust the equalizers (HIGH, MID and LOW) on each channel. Connect a powered speaker to the AUX 1, 2 or 3 jack (MG206C), or to the AUX1 or 2 jack (MG166CX/MG166C) and turn the PRE switch on each channel on. Then adjust the output signal by using the AUX controls on each channel and the Master SEND control. Are the PFL switches for the channels that you are not using turned on?

Reference Specifications

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.)

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
Where 0 dBu = 0.775 Vrms and 0 dBV = 1 Vrms
MG166CX/MG166C Electrical Specications
STEREO OUT GROUP OUT EFFECT/AUX* SEND MONITOR OUT, REC OUT STEREO OUT CH INPUT 18 MIC STEREO OUT GROUP OUT EFFECT/AUX* SEND
GAIN: min (CHs 111/12) 20 Hz20 kHz Nominal output level @1 kHz Input: CHs 1 to 15/16, 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 -62.9 27.8 48
Master EFFECT/AUX* control at nominal level and all CH EFFECT/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 18 Input to Output STEREO L/R, CHs 18, 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, EFFECT* SEND CH 9/10, 11/12 LINE to STEREO OUT CH 9/10, 11/12 LINE to GROUP OUT CH 9/10, 11/12 LINE to AUX SEND PRE CH 9/10, 11/12 LINE to AUX SEND POST, EFFECT* SEND CH 13/14, 15/16 to STEREO OUT CH 13/14, 15/16 to GROUP OUT Rs = 150 RETURN to STEREO OUT RETURN to EFFECT/AUX* SEND Rs = 600 2TR IN to STEREO OUT MIC no load
Input HPF Input equalization 15 dB maximum Turn over/roll-off frequency of shelving: 3 dB blow maximum variable level. PEAK Indicator Internal Digital Effect (Only MG166CX) LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight CHs 111/Hz, 12 dB/oct CHs 18 HIGH: 10 kHz (shelving) MID: 250 Hz5 kHz (peaking) LOW: 100 Hz (shelving) CH 9/1015/16 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 9/1015/16) reaches -3 dB below clipping (+17 dBu). 16 PROGRAM, PARAMETER control Foot Switch (Digital Effect On/Off) Pre MONITOR Level 2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB) STEREO/GROUP/PFL bus PEAK lights if the signal level reaches 3 dB below the clipping level. PA-30 AC 35 VCT, 1.4 A, Cable Length = 3.6 m 35 W (MG166CX), 30 W (MG166C) 478 mm x 102 mm x 496 mm 5.5 kg (MG166CX), 5.3 kg (MG166C)
All faders are nominal if not specied. Output impedance of signal generator: 150 ohms * MG166CX: AUX1, 2, EFFECT MG166C: AUX1, 2, 3
Input Connectors Gain -60 dB 3k -16 dB -34 dB 10k +10 dB -60 dB 3k -16 dB -34 dB 10k +10 dB 10k 10k 10k 10k

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) -30 dBu (24.5 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) -10 dBu (245 mV) 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) +10 dBu (2.45 V) +20 dBu (7.75 V) +24 dBu (12.3 V) +10dBV (3.16 V)

CH INPUT MIC (CHs 18)

CH INPUT LINE (CHs 18)
ST CH MIC INPUT (CHs 9/10, 11/12)
ST CH LINE INPUT (CHs 9/10, 11/12) ST CH INPUT (CHs 13/14, 15/16) CH INSERT IN (CHs 18) RETURN (L, R) 2TR IN (L, R)
600 Lines 600 Lines 600 Lines 600 Lines 600 Lines
GROUP OUT (14) EFFECT/AUX* SEND CH INSERT OUT (CHs 18) REC OUT (L, R) MONITOR OUT (L, R) PHONES OUT
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * MG166CX: AUX1, 2, EFFECT MG166C: AUX1, 2, 3
Dimensional Diagrams (MG206C/MG166CX/MG166C)

102 478

Unit: mm

Rack Mounting

To mount the MG mixer, it requires 12U of rack space.
If the MG mixer is to be mounted with devices that tend to generate heat, such as power ampliers, be sure to install ventilation panels to prevent high temperatures from developing inside the mixer.
* 12U (Approx. 534mm) * 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.

Specifications

AUX1 AUX2 AUX3 AUX4 STEREO L STEREO R GROUP 1 GROUP 2 GROUP 3 GROUP 4 PFL L PFL R PFL CTRL

[0dBu]

[-34 to +10dBu] AUX2 PRE SUM AUX3 [0dBu]
TH+GAIN CH9 to 12 GROUP Fader [-6dBu] BA [-6dBu] TO STEREO SUM [-6dBu]

INSERT I/O 4

PEAK RE PRE AUX4 PFL SUM ST G12 [0dBu] YE G34 [0dBu] [-6dBu] BA AUX 1 [0dBu]

[-10dBu]

[-34 to +10dBu] CH Fader BAL/PAN BA [0dBu]

MIC +15V

[-60 to -16dBu] [-10dBu]

ST CH INPUT

(CH13/14, 15/16)

LINE L/MONO

3-Stage EQ
[-34 to +10dBu] ST Fader SUM BA [0dBu] [-6dBu] AUX 2 PRE AUX 3 [-6dBu] PRE [-6dBu] ST/GROUP 1-2/3-4 [0dBu] LED Meter DR PFL AUX 4 SUM BA

STEREO L STEREO R GROUP 1 GROUP 2 GROUP 3 GROUP 4 PFL L PFL R PFL CTRL
RE GROUP Fader ON SUM BA [-10dBu] [0dBu] AUX1 AUX2 PRE AUX* [0dBu] [0dBu] CH Fader SUM TO ST [-6dBu] SUM BA [-6dBu] GROUP Fader [-6dBu] SUM BA [+4dBu] [-10dBu] BA G34 [0dBu] [0dBu] CH Fader PAN G12 [0dBu]

MIC 2 GROUP OUT 3 4

PHANTOM +48V PEAK RE ST [0dBu] SUM BA [0dBu] [-10dBu]

CH1 to 6

[-60 to -16dBu] YE

HPF Hi G PEAK RE

TH+GAIN CH7 to 8 [0dBu]

INSERT I/O

[0dBu] PFL ST SUM G12 [0dBu] YE G34 [0dBu] [-6dBu] BA AUX 1 [-6dBu] [0dBu]

(CH1 to 8)

BA [0dBu] BAL/PAN

[-10dBu] [0dBu]

(CH9/10, 11/12)
[-34 to +10dBu] STEREO Fader SUM BA [0dBu]
HA [0dBu] AUX 2 PRE [-6dBu] AUX* PFL SUM BA

L +15V

ON STEREO/GROUP 1-2/3-4 [0dBu] LED Meter Hi YE [0dBu]

REC OUT R

L Same as CH9/10

DR SUM [0dBu] [0dBu] SUM

(CH13/14, 15/16) [-10dBu]

SUM ST [-6dBu] SUM

DR LED Meter [-16dBu] AUX 2 [-14dBu] [-6dBu] INV MONI/PHONES INV

AUX 1 [-14dBu]

TO ST/TO MONITOR

2TR IN SUM [0dBu]

AUX SEND 2 [-6dBu] [+4dBu]

[0dBu] [0dBu]

Block Diagram and Level Diagram (MG166CX/MG166C)

AUX SEND 2

[0dBu] AUX SEND* [-6dBu] [+4dBu] BA

AUX SEND *

MONITOR MIX [+4dBu]

only MG166CX

EFFECT RETURN L out [-10dBu] R out BA AUX 1 AUX 2 [-14dBu] [-14dBu] BA

FOOT SW EFFECT ON/OFF

PROGRAM (116)
ST [0dBu] G12 [0dBu] G34 [0dBu]

MODEL MG166C MG166CX

AUX * AUX 3 EFFECT

PARAMETER

ON YE IN

DIGITAL EFFECT (DSP)

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

POLAND

Yamaha Music Central Europe GmbH Sp.z. o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57
THE PEOPLES REPUBLIC OF CHINA

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)