MIXING CONSOLE MIXING CONSOLE
Owners Manual Bedienungsanleitung Mode demploi Manual de instrucciones

Features

Input Channels..page 10 With up to four mic/line inputs or up to three (four for MG102C) stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression..page 9 Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. AUX Sends and Stereo AUX Return..page 12 You can use the AUX SEND jack to feed the signal sent to an external signal processor, and then return the processed stereo signal through the RETURN jack. High-quality digital effects (MG82CX).page 13, 57 With digital effects built in, the MG82CX can deliver a wide range of sound variations all by itself.

Caractristiques

Canaux dentre..page 36 Avec quatre entres micro/ligne ou trois entres stro maximum (quatre pour la console MG102C), la console de mixage MG peut connecter simultanment une grande varit dappareils : micros, appareils de ligne, synthtiseurs stro, etc. Compression..page 35 La compression augmente le niveau gnral sans engendrer de distorsion en comprimant les pics excessifs des signaux des micros et des guitares. Envois AUX et retour AUX stro..page 38 Vous pouvez utiliser la prise jack AUX SEND pour envoyer le signal vers une unit de traitement de signaux externes, puis pour renvoyer le signal stro trait via la prise jack RETURN. Effets numriques de qualit suprieure (MG82CX).page 39, 57 Grce aux effets numriques intgrs, la console MG82CX peut proposer de nombreuses variations de sons.

Funktionen

Eingangskanle...Seite 23 Mit bis zu vier Mikrofon-/Line-Eingngen oder bis zu drei (vier beim MG102C) Stereoeingngen knnen viele Gerte gleichzeitig am MG-Mischpult angeschlossen werden: Mikrofone, Gerte mit Leitungspegel, Stereo-Synthesizer uvm. Kompression...Seite 22 Kompression erhht den Durchschnittspegel, ohne Verzerrung hinzuzufgen, indem bermige Pegelspitzen der Signale von Mikrofonen oder Gitarren komprimiert werden. AUX Sends und Stereo AUX Return..Seite 25 Von der AUX SEND-Buchse knnen Sie das Signal einzeln an einen externen Signalprozessor fhren, und das verarbeitete Stereosignal ber die RETURN-Buchse zurck in das Pult fhren. Hochwertige Digitaleffekte (MG82CX).Seite 26, 57 Mit den eingebauten digitalen Effekten kann das MG82CX aus sich heraus eine Reihe von Klangvariationen liefern.

Caractersticas

Canales de entrada..pgina 49 Con un mximo de cuatro entradas de micrfono/lnea o tres entradas estereofnicas (cuatro en el modelo MG102C), la mezcladora MG puede conectarse simultneamente con una gran variedad de dispositivos: micrfonos, dispositivos de nivel de lnea, sintetizadores estereofnicos, etc. Compresin...pgina 48 La compresin aumenta el nivel general sin causar distorsin, mediante la compresin del exceso de picos en las seales de los micrfonos y guitarras. Envos AUX y retorno AUX estereofnico..pgina 51 Puede utilizar la toma AUX SEND para introducir la seal enviada en un procesador de seales externo y luego devolver la seal estereofnica procesada a travs de la toma RETURN (retorno). Efectos digitales de alta calidad (MG82CX).pgina 52, 57 Gracias a sus efectos digitales incorporados, la mezcladora MG82CX puede producir por s misma una amplia gama de variaciones de sonido.

EN DE FR ES

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.

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 50cm 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 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.

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.

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. 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. Do not place the device in an unstable position where it might accidentally fall over.

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 MG82CX/MG102C mixing console. The MG82CX/ MG102C feature input channels suitable for a wide range of usage environments. And the MG82CX 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 PA-10 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or re.

Mixer Basics

Quick Guide.. 6 Making the Most of Your Mixer. 7
Balanced, UnbalancedWhats the Difference?. 7 Signal Levels and the Decibel.. 7 To EQ or Not to EQ.. 8 Ambience... 9 The Modulation Effects:.. 9 Phasing, Chorus, and Flanging.. 9 Compression... 9
Connect the power adaptor to the AC ADAPTOR IN connector (1) on the rear of the mixer, and then turn the fastening ring clockwise (2) to secure the connection.)

Reference

Front & Rear Panels.. 10
Channel Control Section.. 10 Master Control Section... 11 DIGITAL EFFECT.. 13 Rear Input/Output Section. 13
Plug the power adaptor into a standard household power outlet.
Be sure to unplug the adaptor from the outlet when

Setup... 14

Mixer Basics Making the Most of Your Mixer

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 definition. 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 definition. Surprisingly enough, piano also has an incredibly powerful low end that can benefit from a bit of low-frequency roll-off to let other instruments notably 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.
The fundamental and harmonic musical instruments.
Piano Bass Drum Snare Drum Bass Guitar Trombone Trumpet 500 1k 2k 5k 10 k 20 k (Hz)

frequency ranges of some

Cymbal
Fundamental: The frequency that determines the basic musical pitch. Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument.
Some Frequency Facts The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the A3 key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e. A4 on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce A2 an octave lower.

Boost with Caution

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

MID Boost LOW Boost MID Flat HIGH Boost

Signal Level (dB)

LOW Flat

HIGH Flat

LOW Cut MID Cut Frequency (Hz)

HIGH Cut

Ambience
Your mixes can be further refined by adding ambience effects such as reverb or delay. The MGs internal effects can be used to add reverb or delay to individual channels in the same way as external effects processors. (Refer to page 13).

Reverb and Delay Time

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 up-tempo 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.
For chorus and flanging the signal is delayed by several milliseconds, with the delay time modulated by an LFO, and recombined with the direct signal. In addition to the phasing effect described above, the delay modulation causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback usedflanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure. Chorus is most often used to thicken the sound of an instrument, while flanging is usually used as an outright special effect to produce otherworldly sonic swoops.

Compression

One form of compression known as limiting can, when properly used, produce a smooth, unified 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 Tone

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.

Reverb Level

Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly fine. 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 timeshifted 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

Front & Rear Panels

The following applies to both the MG82CX and MG102C. In cases where different features need to be described for each model, the MG82CX feature will be described first, followed by the MG102C feature in brackets: MG82CX (MG102C).

Channel Control Section

Channels 1 and 2 (Monaural) Channels 3/4 and 5/6 (Stereo) Channels 7/8 (7/8 and 9/10) (Stereo)
3 LINE Input Jacks (CHs 3/4 to 7/8 (CHs 3/4 to

9/10))

These are unbalanced phone-jack stereo line inputs.
4 LINE Input Jacks (CH 7/8, (CHs 7/8, 9/10))
These are unbalanced stereo RCA pin jacks.
Where an input channel provides both a MIC input jack and a LINE input jack, or a LINE input jack and an RCA pin jack, you can use either jack but not both at the same time. Please connect to only one jack on each channel.
5 INSERT Jacks (CHs 1, 2)
Each of these jacks provides an insert point between the equalizer and level control of the corresponding input channel (CHs 1, 2). The INSERT jacks can be used to independently connect devices such as graphic equalizers, compressors, or noise lters into the corresponding channels. These are TRS (tip, ring, sleeve) phone jacks that carry both the send and return signal (tip = send/out; ring = return/in; sleeve = ground).

5 EFFECT RTN Control

Adjusts the signal level sent from the internal digital effect unit to the STEREO buses.
Rear Input/Output Section

1POWER Switch

Use this switch to turn the mixers power ON or to STANDBY mode.
Note that a small current continues to ow while the switch is in the STANDBY position. If you do not plan to use the mixer for a while, be sure to unplug the AC adaptor from the wall outlet.
2 AC ADAPTOR IN Connector
ConnectConnect the supplied PA-10 power adaptor to this connector (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.

Guitar Powered Speakers

Recorder Bass

DI Microphone

CD Player
Effect Processor (exciter) Synthesizer
Foot Switch (YAMAHA FC5) Effect Processor
Headphones Powered Monitor

Jack List

Input and Output Jacks MIC INPUT Polarities Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Congurations

OUTPUT

LINE INPUT(CHs 1, 2) STEREO OUT, MONITOR OUT, EFFECT (AUX)* INSERT
Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Tip: Hot Sleeve: Ground Sleeve Sleeve

PHONES

RETURN LINE INPUT (CHs 3/4 to 7/8 (CHs 3/4 to 9/10))
* These jacks will also accept connection to monaural 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? No sound.
Are microphones, external devices, and speakers connected correctly? Are the channel GAIN controls, LEVEL controls, STEREO Master control set to appropriate levels? Is the MONITOR 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 59 for a list of service centers.) Are the channel GAIN controls, LEVEL controls, STEREO Master control 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 on channels 1 to 5/6? 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 control 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 EFFECT (AUX) jack*. Then adjust the output signal by using the EFFECT (AUX) controls* on each channel.

All level controls are nominal if not specied. Output impedance of signal generator: 150 ohms * The MG82CX feature is described rst, followed by the MG102C feature in brackets: MG82CX (MG102C)

Reference Specifications

Input Specications

Input Connectors

CH INPUT MIC (CHs 1, 2) CH INPUT LINE (CHs 1, 2) ST CH MIC INPUT (CHs 3/4, 5/6) ST CH LINE INPUT (CHs 3/4, 5/6) ST CH INPUT (CH 7/8 (CHs 7/8, 9/10)) CH INSERT IN (CHs 1, 2) RETURN (L, R) 2TR IN (L, R) Gain 60 dB 16 dB 34 dB +10 dB 60 dB 16 dB 34 dB +10 dB 10 k 3 k 10 k 3 k
Input Impedance Appropriate Impedance
Sensitivity * 72 dBu (0.195 mV) 28 dBu (30.8 mV) 46 dBu (3.88 mV) 2 dBu (0.615 V) 72 dBu (0.195 mV) 28 dBu (30.8 mV) 46 dBu (3.88 mV) 2 dBu (0.615 V) 22 dBu (61.5 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)
50600 Mics 600 Lines 50600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines
Max. before Clipping 40 dBu (7.75 mV) +4 dBu (1.23V) 14 dBu (155 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) 6 dBu (389 mV) 14 dBu (155 mV) +30 dBu (24.5V) +10 dBu (2.45 V)
Connector Specications XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone jack (unbalanced) Phone jack (unbalanced) RCA pin jack TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) Phone jack (unbalanced) RCA pin jack

12 dBu (195 mV)

0 dBu (0.775 V)

+20 dBu (7.75 V)

10 k 10 k
8 dBu (308 mV) 22 dBV (79.4 mV)
+4 dBu (1.23 V) 10 dBV (0.316 V)
+24 dBu (12.3 V) +10 dBV (3.16 V)
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 level controls are at their maximum position.)

Output Specications

Output Connectors STEREO OUT (L, R) EFFECT SEND (AUX SEND*) CH INSERT OUT (CHs 1, 2) REC OUT (L, R) MONITOR OUT (L, R) Output Impedance Appropriate Impedance 10 k Lines 10 k Lines 10 k Lines 10 k Lines 10 k Lines 40 Phones Nominal Level +4 dBu (1.23 V) +4 dBu (1.23 V) 0 dBu (0.775 V) 10 dBV (0.316 V) +4 dBu (1.23 V) 3 mW Max. before clipping +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 Connector Specications Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (unbalanced [Tip = OUT, Ring = IN, Sleeve = GND]) RCA Pin jack Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Stereo phone jack

PHONES OUT

Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * The MG82CX feature is described rst, followed by the MG102C feature in brackets: MG82CX (MG102C)
Digital Effect Program List
No 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.

Dimensional Diagrams

256.6 62.2 55.2 2

Unit:mm

Specifications

EFFECT/AUX STEREO L

RE PAN

[0dBu] [0dBu] [0dBu]

[6dBu] [0dBu]

[0dBu] 3-Stage EQ BA

[+4dBu]
+48V PEAK RE CH LEVEL [6dBu]
[60 to 16dBu] MID TH+GAIN SUM L

[6dBu]

HPF BA STEREO STEREO OUT

CH INPUT

LOW HIGH

GAIN Trim

(CH1 to 2) [34 to +10dBu]

[16 to 60dB]

INSERT I/O
SUM R PEAK RE EFFECT (MG82CX) AUX (MG102C) BA

[0dBu]

[34 to +10dBu] [0dBu] 3-Stage EQ BA
[0dBu] [10dBV] [0dBu] [0dBu]
BAL/PAN R [7.8dBu] LOW MID HIGH BA
ST CH LEVEL [6dBu] L REC OUT

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
Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211

U.S.A.

Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011
THE NETHERLANDS/ BELGIUM/LUXEMBOURG
Yamaha Music Central Europe GmbH, Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040

INDONESIA

PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577
CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de Mxico S.A. de C.V. Calz. Javier Rojo Gmez #1149, Col. Guadalupe del Moral C.P. 09300, Mxico, D.F., Mxico Tel: 55-5804-0600

FRANCE

Yamaha Musique France BP 70-77312 Marne-la-Valle Cedex 2, France Tel: 01-64-61-4000
Yamaha Music Korea Ltd. Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong, Youngdungpo-ku, Seoul, Korea Tel: 02-3770-0660
Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-78030900

BRAZIL

Yamaha Musical do Brasil Ltda. Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi, CEP 04534-013 Sao Paulo, SP. BRAZIL Tel: 011-3704-1377

SPAIN/PORTUGAL

Yamaha-Hazen Msica, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888

SINGAPORE

Yamaha Music Asia Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 747-4374

ARGENTINA

Yamaha Music Latin America, S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021

SWEDEN

Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-Gteborg, Sweden Tel: 34 00

TAIWAN

Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688

PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanizacin Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panam, Panam Tel: +507-269-5311

DENMARK

YS Copenhagen Liaison Ofce Generatorvej 6A DK-2730 Herlev, Denmark Tel: 49 00

THAILAND

Siam Music Yamaha Co., Ltd. 891/1 Siam Motors Building, 15-16 oor Rama 1 road, Wangmai, Pathumwan Bangkok 10330, Thailand Tel: 02-215-2626

NORWAY

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

EUROPE

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

OTHER ASIAN COUNTRIES

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

OTHER EUROPEAN COUNTRIES

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

GERMANY

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

OCEANIA AFRICA

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

AUSTRALIA

Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zrich, Switzerland Tel: 01-383 3990
COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN

AUSTRIA

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

MIDDLE EAST

TURKEY/CYPRUS
CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA
Yamaha Music Central Europe GmbH, Branch Austria, CEE Department Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025

OTHER COUNTRIES

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

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: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2006 Yamaha Corporation WH63250 608POAP3.3-01A0 Printed in China

MIXING CONSOLE MIXING CONSOLE
Owners Manual Bedienungsanleitung Mode demploi Manual de instrucciones

Features

Input Channels..page 10 With up to four mic/line inputs or up to three (four for MG102C) stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression..page 9 Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. AUX Sends and Stereo AUX Return..page 12 You can use the AUX SEND jack to feed the signal sent to an external signal processor, and then return the processed stereo signal through the RETURN jack. High-quality digital effects (MG82CX).page 13, 57 With digital effects built in, the MG82CX can deliver a wide range of sound variations all by itself.

Caractristiques

Canaux dentre..page 36 Avec quatre entres micro/ligne ou trois entres stro maximum (quatre pour la console MG102C), la console de mixage MG peut connecter simultanment une grande varit dappareils : micros, appareils de ligne, synthtiseurs stro, etc. Compression..page 35 La compression augmente le niveau gnral sans engendrer de distorsion en comprimant les pics excessifs des signaux des micros et des guitares. Envois AUX et retour AUX stro..page 38 Vous pouvez utiliser la prise jack AUX SEND pour envoyer le signal vers une unit de traitement de signaux externes, puis pour renvoyer le signal stro trait via la prise jack RETURN. Effets numriques de qualit suprieure (MG82CX).page 39, 57 Grce aux effets numriques intgrs, la console MG82CX peut proposer de nombreuses variations de sons.

Funktionen

Eingangskanle...Seite 23 Mit bis zu vier Mikrofon-/Line-Eingngen oder bis zu drei (vier beim MG102C) Stereoeingngen knnen viele Gerte gleichzeitig am MG-Mischpult angeschlossen werden: Mikrofone, Gerte mit Leitungspegel, Stereo-Synthesizer uvm. Kompression...Seite 22 Kompression erhht den Durchschnittspegel, ohne Verzerrung hinzuzufgen, indem bermige Pegelspitzen der Signale von Mikrofonen oder Gitarren komprimiert werden. AUX Sends und Stereo AUX Return..Seite 25 Von der AUX SEND-Buchse knnen Sie das Signal einzeln an einen externen Signalprozessor fhren, und das verarbeitete Stereosignal ber die RETURN-Buchse zurck in das Pult fhren. Hochwertige Digitaleffekte (MG82CX).Seite 26, 57 Mit den eingebauten digitalen Effekten kann das MG82CX aus sich heraus eine Reihe von Klangvariationen liefern.

Caractersticas

Canales de entrada..pgina 49 Con un mximo de cuatro entradas de micrfono/lnea o tres entradas estereofnicas (cuatro en el modelo MG102C), la mezcladora MG puede conectarse simultneamente con una gran variedad de dispositivos: micrfonos, dispositivos de nivel de lnea, sintetizadores estereofnicos, etc. Compresin...pgina 48 La compresin aumenta el nivel general sin causar distorsin, mediante la compresin del exceso de picos en las seales de los micrfonos y guitarras. Envos AUX y retorno AUX estereofnico..pgina 51 Puede utilizar la toma AUX SEND para introducir la seal enviada en un procesador de seales externo y luego devolver la seal estereofnica procesada a travs de la toma RETURN (retorno). Efectos digitales de alta calidad (MG82CX).pgina 52, 57 Gracias a sus efectos digitales incorporados, la mezcladora MG82CX puede producir por s misma una amplia gama de variaciones de sonido.

EN DE FR ES

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.

Total Harmonic Distortion (THD + N) Hum & Noise

General Specications

Input HPF Input Equalization Turn over/roll-off frequency of shelving: 3 dB below maximum variable level. 15 dB maximum PEAK Indicator Internal Digital Effect* LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight CHs 1-5/6, 80 Hz, 12 dB/oct CHs 1-5/6 HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) CH 7/8 (CHs 7/8, 9/10*) HIGH: 10 kHz (shelving) LOW: 100 Hz (shelving) Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for CHs 3/4, 5/6) reaches 3 dB below clipping (+17 dBu). 16 PROGRAM, PARAMETER control Foot Switch (Digital Effect On/Off) Pre MONITOR Level 2x7 points LED meter (PEAK, +6, +3, 0, 5, 10, 20 dB) PEAK lights if the signal level reaches 3 dB below the clipping level. PA-10 AC 38 VCT, 0.62 A, Cable Length = 3.6 m 21 W 256.6 mm x 62.2 mm x 302.5 mm 1.6 kg (MG82CX), 1.5 kg (MG102C)
All level controls are nominal if not specied. Output impedance of signal generator: 150 ohms * The MG82CX feature is described rst, followed by the MG102C feature in brackets: MG82CX (MG102C)

Reference Specifications

Input Specications

Input Connectors

CH INPUT MIC (CHs 1, 2) CH INPUT LINE (CHs 1, 2) ST CH MIC INPUT (CHs 3/4, 5/6) ST CH LINE INPUT (CHs 3/4, 5/6) ST CH INPUT (CH 7/8 (CHs 7/8, 9/10)) CH INSERT IN (CHs 1, 2) RETURN (L, R) 2TR IN (L, R) Gain 60 dB 16 dB 34 dB +10 dB 60 dB 16 dB 34 dB +10 dB 10 k 3 k 10 k 3 k
Input Impedance Appropriate Impedance
Sensitivity * 72 dBu (0.195 mV) 28 dBu (30.8 mV) 46 dBu (3.88 mV) 2 dBu (0.615 V) 72 dBu (0.195 mV) 28 dBu (30.8 mV) 46 dBu (3.88 mV) 2 dBu (0.615 V) 22 dBu (61.5 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)
50600 Mics 600 Lines 50600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines
Max. before Clipping 40 dBu (7.75 mV) +4 dBu (1.23V) 14 dBu (155 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) 6 dBu (389 mV) 14 dBu (155 mV) +30 dBu (24.5V) +10 dBu (2.45 V)
Connector Specications XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone jack (unbalanced) Phone jack (unbalanced) RCA pin jack TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) Phone jack (unbalanced) RCA pin jack

12 dBu (195 mV)

0 dBu (0.775 V)

+20 dBu (7.75 V)

10 k 10 k
8 dBu (308 mV) 22 dBV (79.4 mV)

+4 dBu (1.23 V) 10 dBV (0.316 V)
+24 dBu (12.3 V) +10 dBV (3.16 V)
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 level controls are at their maximum position.)

Output Specications

Output Connectors STEREO OUT (L, R) EFFECT SEND (AUX SEND*) CH INSERT OUT (CHs 1, 2) REC OUT (L, R) MONITOR OUT (L, R) Output Impedance Appropriate Impedance 10 k Lines 10 k Lines 10 k Lines 10 k Lines 10 k Lines 40 Phones Nominal Level +4 dBu (1.23 V) +4 dBu (1.23 V) 0 dBu (0.775 V) 10 dBV (0.316 V) +4 dBu (1.23 V) 3 mW Max. before clipping +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 Connector Specications Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (unbalanced [Tip = OUT, Ring = IN, Sleeve = GND]) RCA Pin jack Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Stereo phone jack

PHONES OUT

Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * The MG82CX feature is described rst, followed by the MG102C feature in brackets: MG82CX (MG102C)
Digital Effect Program List
No 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.

Dimensional Diagrams

256.6 62.2 55.2 2

Unit:mm

Specifications

EFFECT/AUX STEREO L

RE PAN

[0dBu] [0dBu] [0dBu]

[6dBu] [0dBu]

[0dBu] 3-Stage EQ BA

[+4dBu]
+48V PEAK RE CH LEVEL [6dBu]
[60 to 16dBu] MID TH+GAIN SUM L

[6dBu]

HPF BA STEREO STEREO OUT

CH INPUT

LOW HIGH

GAIN Trim

(CH1 to 2) [34 to +10dBu]

[16 to 60dB]

INSERT I/O
SUM R PEAK RE EFFECT (MG82CX) AUX (MG102C) BA

[0dBu]

[34 to +10dBu] [0dBu] 3-Stage EQ BA
[0dBu] [10dBV] [0dBu] [0dBu]
BAL/PAN R [7.8dBu] LOW MID HIGH BA
ST CH LEVEL [6dBu] L REC OUT

[60 to 16dBu]

ST CH INPUT

[14dBu]

Block Diagram and Level Diagram
STEREO R PHANTOM LED METER DR STEREO L HA EFFECT (MG82CX) AUX (MG102C) [0dBu] 2-Stage EQ BA DR STEREO R BAL BA MONITOR/PHONES [16dBu]
3-Stage EQ HA [0dBu] ST CH LEVEL [6dBu]

[0dBu] [0dBu]

(CH3/4, 5/6)

LINE L/MONO

[34 to +10dBu]

[6 to 50dB]

LINE R

[14dBu] [6dBu]

(CH7/8) (CH9/10) (only MG102C) [10dBu] 2-Stage EQ BA + SUM
L BA R MONITOR OUT [+4dBu]
EFFECT (MG82CX) AUX (MG102C) INV RETURN [0dBu]

+ SUM

L/MONO

RETURN

INV TO STEREO/TO MONITOR [0dBu]

[3mW @40ohms]

INV SUM 2TR IN INV BA

2TR IN

[10dBV] [7.8dBu]

only MG82CX

EFFECT SEND (MG82CX) AUX SEND (MG102C)

FOOT SW EFFECT ON/OFF

PROGRAM(1-16) DIGITAL EFFECT (DSP)

RO EFFECT RETURN IN

PARAMETER ON YE

MONITOR MIX

+30dBu Clip Level Clip Level RETURN [+4dBu] Clip Level
+30dBu Clip Level CH EFFECT/AUX [Nominal:6dB] EFFECT/AUX SEND [+4dBu] Clip Level ST OUT [+4dBu] Clip Level

+20dBu

+10dBu
CH IN LINE Gain:Min [+10dBu]

Clip Level

ST CH LINE IN Gain:Min [+10dBu]
+20dBu +10dBu MONITOR OUT 0dBu 10dBu
0dBu ST CH IN [10dBu] CH Level 2TR IN [10dBV] ST CH Level [7.8dBu] [Nominal:6dB]
ST CH MIC IN Gain:Min [16dBu]
CH IN MIC Gain:Min [16dBu]
CH IN LINE Gain:Max [34dBu]
ST CH LINE IN Gain:Max [34dBu]
RETURN 2TR IN [Nominal:6dB]
ST [Nominal:6dB] ST CH EFFECT/AUX [Nominal:6dB] ST CH EFFECT/AUX SEND [+1dBu]

REC OUT [10dBV] [7.8dBu]

SPAIN/PORTUGAL

Yamaha-Hazen Msica, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888

SINGAPORE

Yamaha Music Asia Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 747-4374

ARGENTINA

Yamaha Music Latin America, S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021

SWEDEN

Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-Gteborg, Sweden Tel: 34 00

TAIWAN

Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688
PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanizacin Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panam, Panam Tel: +507-269-5311

DENMARK

YS Copenhagen Liaison Ofce Generatorvej 6A DK-2730 Herlev, Denmark Tel: 49 00

THAILAND

Siam Music Yamaha Co., Ltd. 891/1 Siam Motors Building, 15-16 oor Rama 1 road, Wangmai, Pathumwan Bangkok 10330, Thailand Tel: 02-215-2626

NORWAY

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

EUROPE

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

OTHER ASIAN COUNTRIES

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

OTHER EUROPEAN COUNTRIES

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

GERMANY

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

OCEANIA AFRICA

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

AUSTRALIA

Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zrich, Switzerland Tel: 01-383 3990