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Yamaha MG8 2FX Manual

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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)


Thank you for your purchase of the YAMAHA MG8/2FX mixing console. The MG8/2FX is a compact unit offering up to eight input channels and incorporating high-quality internal digital effects. The mixer combines ease of operation with support for multiple usage environments. Please read through this Owners Manual carefully before beginning use, so that you will be able to take full advantage of the mixers superlative features and enjoy trouble-free operation for years to come.


Introduction 4


Input Channels.. page 18
With up to four mic/line inputs or up to three stereo inputs, the MG8/2FX can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. For example, you can connect two microphones and three stereo devices, or four microphones and one stereo device.
Contents.. 4 Features... 4 Before Turning on the Mixer.. 5 Turning the Power On.. 5
1. A Place For Everything and Everything In Its Place. 6 2. Where Your Signal Goes Once Its Inside the Box.. 9 3. The First Steps in Achieving Great Sound.. 10 4. Internal and External Effect Mixes. 12 5. Making Better Mixes.. 13
Phantom Power (+48 V). page 16
A single switch turns phantom power on or off for four mic inputs. Phantom power enables easy connection to condenser microphones that require external power.
High-quality digital effects. page 16
With digital effects built in, the MG8/2FX can deliver a wide range of sound variations all by itself. The unit also includes an EFFECT SEND jack that can be used to connect an external effector.

Front & Rear Panels

Channel Control Section. 15 Master Control Section.. 16 Input/Output Section.. 18 Rear Section.. 19
Send to external effector.. page 19
You can use the EFFECT SEND jack to send the signal from the EFFECT bus to an external effector, and you can use the RETURN jack to reinput the effectors stereo output.

Setting Up

Setup Procedure.. 20 Setup Examples.. 20 Mounting to a Microphone Stand.. 21

To summarize:

Microphones: Short line-level runs: Long line-level runs: Use balanced lines. Unbalanced lines are ne if youre in a relatively noise-free environment. The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best.
How Do Balanced Lines Reject Noise?
** Skip this section if technical details make you queasy. ** Balanced lines work on the principle of phase cancellation: if you add two identical signals out of phase (i.e. one signal is inverted so its peaks coincide with the troughs in the other signal), the result is nothing. A at line. The signals cancel each other out.

Normal-phase signal.

No signal. (Phase cancellation) Reverse-phase signal.
A balanced cable has three conductors:
1) 2) 3) A ground conductor which carries no signal, just the ground or 0 reference against which the signal in the other conductors uctuates. A hot or + conductor which carries the normal-phase audio signal. A cold or conductor which carries the reverse-phase audio signal.
While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become in-phase, and the induced noise suddenly nds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio signal is left intact. Clever, eh?
Normal-phase signal + normal-phase noise.
Desired signal with no noise. Normal-phase signal + reverse-phase noise.
1-3. Signal LevelsDecibel Dos and Donts
From the moment you start dealing with things audio, youll have to deal with the term decibel and its abbreviation, dB. Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you dont need to be an expert to make things work. Here are a few basics you should keep in mind: Consumer gear (such as home audio equipment) usually has line inputs and outputs with a nominal (average) level of 10 dB. Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB. You should always feed 10 dB inputs with a 10 dB signal. If you feed a +4 dB signal into a 10 dB input you are likely to overload the input. You should always feed +4 dB inputs with a +4 dB signal. A 10 dB signal is too small for a +4 dB input, and will result in less-than-optimum performance. Many professional and semi-professional devices have level switches on the inputs and/or outputs that let you select 10 or +4 dB. Be sure to set these switches to match the level of the connected equipment. Inputs that feature a Gain controlsuch as the mono-channel inputs on your Yamaha mixerwill accept a very wide range of input levels because the control can be used to match the inputs sensitivity to the signal. More on this later.

2. Where Your Signal Goes Once Its Inside the Box
At rst glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal ows in any mixer. Heres a greatly simplied block diagram of a generic mixer to help you become familiar with the way these things work.
2-1. Greatly Simplied Mixer Block Diagram
Input Channel Master Section
Signals from the mixers other input channels (if they are assigned to this master output or bus).

Input Channel

1 Head Amp
The very rst stage in any mixer, and usually the only stage with signicant gain or amplication. The head amp has a gain control that adjusts the mixers input sensitivity to match the level of the source. Small signals (e.g. mics) are amplied, and large signals are attenuated.

Master Section

4 Summing Amplier
This is where the actual mixing takes place. Signals from all of the mixers input channels are summed (mixed) together here.
5 Master Fader & Level Meter
A stereo, mono, or bus master fader and the mixers main output level meter. There could be several master faders depending on the design of the mixeri.e. the number of buses or outputs it provides.

2 Equalizer

Could be simple bass and treble controls or a full-blown 4-band parametric EQ. When boost is applied the EQ stage also has gain. You can actually overload the input channel by applying too much EQ boost. Its usually better to cut than boost.
3 Channel Peak LED & Fader
The channel peak LED is your most valuable tool for setting the input gain control for optimum performance. Note that it is located after the head amp and EQ stage.
3. The First Steps in Achieving Great Sound
Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are properly set for each individual source. This cant be stressed enoughinitial level setup is vitally important for achieving optimum performance from your mixer! Heres why and how.
3-1. The Head Amplier Gain Control Is the Key!
Lets review our simplied mixer block diagram:
Each and every stage in the mixers signal path will add a certain amount of noise to the signal: the head amp, the EQ stage, the summing amplier, and the other buffer and gain stages that exist in the actual mixer circuit (this applies to analog mixers in particular). The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any signicant degree on the level of the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the added noise will be in relation to it. In tech-speak this gives us a better signal-to-noise ratiooften abbreviated as S/N ratio. All of this leads to the following basic rule: To achieve the best overall system S/N ratio, amplify the input to the desired average level as early as possible in the signal path. In our mixer, that means the head amplier. If you dont get the signal up to the desired level at the head amplier stage, you will need to apply more gain at later stages, which will only amplify the noise contributed by the preceding stages. Just remember that too much initial gain is bad too, because it will overload our channel circuitry and cause clipping.

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, 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) to their nominal levels (this will be the 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 rangeand this will depend on the dynamic range of your program material.
4. Internal and External Effect Mixes
4-1. Effect Bus For Convenient Effect Control
There are a number of reasons why you might want to tap the signal owing through your mixer at some point before the main outputs: the two most common being to create a monitor mix and to process the signal via one or more effect units and then bring it back into the mix. Monitor mixing is not always required in small consoles, but effect processing is important in a wide range of applications. Your mixer has an effect bus that lets you send the channel signals to the internal effect processor as well as to external effect gear connected to the EFFECT SEND output. Larger mixing consoles might have 6, 8, or even more auxiliary and effect buses to handle a variety of signal routing and processing needs. Using the effect buses and controls on your mixer is pretty straightforward. The more you rotate the EFFECT control on any channel clockwise, the more signal is sent from that channel to both the internal effect processor and the EFFECT SEND jack. The effect send is post-fader, which means that the signal is taken from a point after the channel fader, so its level will be affected by both the effect send level control and the channel fader. This is important because it means that once you set the amount of reverb that you want to add to the channel by using the EFFECT control, for example, you can use the channel fader to raise or lower the overall channel level while maintaining the balance between the main channel signal and the reverb effect.

4-2. Channel Inserts for Channel-specic Processing
Another way to get the mixers signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually break the mixers internal signal path. Unlike the EFFECT send and return, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specic channelalthough they can be used with just about any type of in/out processor.

Channel Fader

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

5. Making Better Mixes

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

Music FirstThen Mix

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

Faders Down

It might sound overly simple, but it is usually a good idea to start with all channel faders offall the way down. Its also possible to start with all faders at their nominal settings, but its too easy to lose perspective with this approach. Start with all faders down, then bring them up one by one to ll out the mix. But which channel should you start with?

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


Vocal Ballad Backed by Piano Trio What are you mixing? Is it a song in which the vocals are the most important element? If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal rst (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound.


Funky R&B Groove The approach will be totally different if youre mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the drive or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrumentwith the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well.
Making the Most Of Your Mixer 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 hard-and-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.

5-4. Ambience

Judicious application of reverb and/or delay via the mixers effect 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.

Reverb/Delay Time

Different reverb/delay units offer different capabilities, but most offer some means of adjusting the reverb time. A little extra time spent matching the reverb time to the music being mixed can mean the difference between great and merely average sound. The reverb time you choose will depend to a great degree on the tempo and density of the mix at hand. Slower tempos and lower densities (i.e. sparser mixes with less sonic activity) can sound good with relatively long reverb times. But long reverb times can completely wash out a faster more active piece of music. Similar principles applies to delay.

5-3. To EQ Or Not To EQ

In general: less is better. There are many situations in which youll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better denition. Bad EQand most commonly bad boostjust sounds terrible.

Cut For a Cleaner Mix

For example: cymbals have a lot of energy in the mid and low frequency ranges that you dont really perceive as musical sound, but which can interfere with the clarity of other instruments in these ranges. You can basically turn the low EQ on cymbal channels all the way down without changing the way they sound in the mix. Youll hear the difference, however, in the way the mix sounds more spacious, and instruments in the lower ranges will have better denition. Surprisingly enough, piano also has an incredibly powerful low end that can benet from a bit of low-frequency roll-off to let other instrumentsnotably drums and bassdo their jobs more effectively. Naturally you wont want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. Youll have to use your ears, though, because each instrument is different and sometimes youll want the snap of a bass guitar, for example, to come through.

Reverb Tone

How bright or bassy a reverb sound is also has a huge impact on the sound of your mix. Different reverb units offer different means of controlling thisbalance between the high- and low-frequency reverb times, simple EQ, and others. A reverb that is too bright will not only sound unnatural, but it will probably get in the way of delicate highs you want to come through in your mix. If you nd yourself hearing more high-end reverb than mix detail, try reducing the brightness of the reverb sound. This will allow you to get full-bodied ambience without compromising clarity.

Reverb Level

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. You dont want reverb to dominate the mix unless you are trying to create the effect of a band in a cavewhich is a perfectly legitimate creative goal if thats the sort of thing youre aiming for.

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 good-sounding 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.

5-5. Built-in Effects

Your MG mixer features a high-performance internal effect system 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. For details see page 16.

Channel Control Section

4 Equalizer (HIGH, MID, and LOW)
Channels 1 and 2 (Monaural) Channels 3/4 and 5/6 (Stereo) Channels 7/8 (Stereo)
This three-band equalizer adjusts the channels high, mid, and low frequency bands. Setting the knob to the position produces a at frequency response. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band. The following table shows the EQ type, base frequency, and maximum cut/boost for each of the three bands.
Band HIGH MID Type Shelving Peaking Shelving Base Frequency Maximum Cut/Boost 10 kHz 2.5 kHz 100 Hz 15 dB

5 EFFECT Controls

Adjusts the level of the signal sent from the channel to the EFFECT bus. Note that the signal level to the bus is also affected by the Channel LEVEL Control. If you are using stereo channels (CHs 3/4, 5/6, 7/8), the signals from the L (odd) and R (even) channels are mixed and then sent to the EFFECT bus.

ON Switch Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on. The switch lights up orange to indicate that it is on. With the (separately sold) YAMAHA FC5 foot switch connected, you can use your foot to toggle the digital effects ON and OFF.
When you turn on the power, the ON switch lights up and the internal effector becomes active.
EFFECT RTN Control Adjusts the signal level from the internal digital effector to the STEREO bus.

Input/Output Section

Channel Input Jacks (CHs 1, 2, 3/4, 5/6)
MIC jacks These are balanced XLR-type input jacks (1:Ground; 2:Hot; 3:Cold). LINE jacks These are balanced phone-type input jacks. You can connect either balanced or unbalanced phone plugs to these jacks.
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.
3 Channel Input Jacks (CH 7/8)
Each of these channel pairs can be used to input a stereo source signal. For each pair, the odd-numbered channel inputs the L signal, and the even-numbered channel inputs the R signal. Each channel offers a choice of two jack types: phone jack and RCA pin jack. All of these jacks are unbalanced.
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 (CHs 1 and 2)
These are unbalanced phone-type input/output jacks. Each of these jacks is positioned between the equalizer and Channel LEVEL Control of the corresponding input channel. 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.
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.

4 2TR IN Jacks

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

5 REC OUT (L, R) Jacks

These are unbalanced RCA-pin output jacks. These jacks output the mixed signal whose level is controlled by the ST Master LEVEL Control. You use these jacks, for example, to connect to an external recorder.

To the INSERT I/O jack Sleeve

Sleeve Ring Tip Tip

6 ST OUT (L, R) Jacks
These are impedance-balanced phone-type output jacks. These jacks output the mixed signal whose level is controlled by the ST Master LEVEL Control. You use these jacks, for example, to connect to the power amplier driving your main speakers.
9 RETURN L (MONO), R Jacks
These are unbalanced phone-type input jacks. The signal received by these jacks is sent to the Stereo bus. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.).

7 C-R OUT Jacks

These are impedance-balanced phone-type output jacks. These jacks output the mixed signal whose level is controlled by the C-R/PHONES LEVEL Control. You use these jacks, for example, to connect to the monitor system.
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.


Connector for headphones. This is a balanced phone-type output jack.

8 SEND Jacks

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.


This phone input jack can connect to the (separately sold) YAMAHA FC5 foot switch. With the foot switch connected, you can use your foot to toggle the digital effects ON and OFF.

Connector Polarities

MIC INPUT Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Sleeve Tip INPUT OUTPUT
LINE INPUT (monaural channels), ST OUT, C-R OUT, EFFECT *


RETURN, LINE INPUT (stereo channels)
Tip: Hot Sleeve: Ground Sleeve Tip
These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.

Rear Section

1 AC ADAPTOR IN Connector
Connects to the included PA-10 power adaptor (see page 5).
Use only the PA-10 adaptor included with this mixer. Use of a different adaptor may result in re or electric shock.

2 POWER Switch

Use this switch to set mixer power to ON or STANDBY.
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. MG8/2FX

Setup Procedure

Before connecting to microphones and instruments, be sure that all devices are turned off. Also be sure that all of the channel controls and all of the controls in the Master Control section are turned to their minimum settings. For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate input jack on the mixer.

Hum & Noise (20 Hz - 20 kHz)
Rs=150 ohms, Gain=Maximum, Sensitivity=60 dBu, Hum & Noise are measured with a 6 dB/octave lter @12.7 kHz;equivalent to a 20 kHz lter with innite dB/octave attenuation.

Maximum Voltage Gain

PAN/BAL : panned hard left or hard right.
Crosstalk (1 kHz) Monaural/Stereo Input GAIN Control

Where 0 dBu = 0.775 V

General Specications
Monaural/Stereo CH High Pass Filter Monaural/Stereo CH Equalization
Turn over /roll-off frequency of shelving, 3 dB below maximum variable level
Internal Digital Effect Phantom Power Monaural/Stereo Input PEAK Indicator
Level Meters Included Accessories Options Power Consumption Dimensions (W H D) Weight
80 Hz 12 dB/octave 15 dB (Max. Variation) HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) 16 programs, Parameter control FOOT switch (ON/OFF) Supplied when Phantom +48 V switch is ON. (XLR-type input jacks) 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-points LED level meters [ST (L, R)] Peak point: red indicator +5, +3, +1, 0: yellow indicators 1, 3, 5, 7, 10, 15, 20: green indicators Power adaptor (PA-10) Microphone-stand adaptor (BMS-10A), Footswitch (FC5) 25 W 251 mm 65 mm 290.5 mm 1.8 kg
Appendix Input Specications
Input Connector MIC INPUT (CH 1, 2) Gain k 10 k +3 k 10 k +k 600 line 600 line 50600 mic 600 line 50600 mic Input Impedance Appropriate Impedance Sensitivity* 72 dBu (0.195 mV) 28 dBu (30.9 mV) 46 dBu (3.88 mV) 2 dBu (0.616 V) 72 dBu (0.195 mV) 28 dBu (30.9 mV) 46 dBu (3.88 mV) 2 dBu (0.616 V) 22 dBu (61.6 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) 10 dBV (316 mV) 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) 10 dBu (245 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) +10 dBV (3.16 V) Connector Specications XLR-3-31 type (balanced) Phone jack (TRS) (balanced [T: hot; R: cold; S: ground]) XLR-3-31 type (balanced)

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


Norsk lial av Yamaha Scandinavia AB Grini Nringspark 1 N-1345 sters, Norway Tel: 77 70


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


Yamaha Music Central Europe GmbH Siemensstrae 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030


Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2317


Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700


Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313


Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111


Yamaha Music Central Europe GmbH Siemensstrae 22-34, 25462 Rellingen, Germany Tel: 04101-3030


Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zrich, Switzerland Tel: 01-383 3990


Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: +971-4-881-5868


Yamaha Music Central Europe GmbH, Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900


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 Pro Audio global web site

Yamaha Manual Library
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2004 Yamaha Corporation WC70700 408CRAP12.3-01A0 Printed in China



+ 20 dBu

0.775 V

-20 dBu -40 dBu

-60 dBu



+ +

U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2004 Yamaha Corporation WC70500 408CRAP1.3-01A0 Printed in China



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