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 MW 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 both the MW12CX and MW12C. The main difference between the two models is that the MW12CX includes digital effects while the MW12C has no internal effects. * In this manual the term MW mixsers refers to both the MW12CX and MW12C. In cases where different features need to be described for each model, the MW12CX feature will be described rst, followed by the MW12C feature in brackets: MW12CX (MW12C).

SPECIAL NOTICES

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

Introduction

Thank you for choosing a Yamaha MW12CX/MW12C USB Mixing Studio. The MW12CX/MW12C includes an audio mixer equipped with a USB interface for digital audio data transfer, and Cubase AI4 DAW (Digital Audio Workstation) software for Windows and Macintosh computer operating systems. With the MW12CX/MW12C USB Mixing Studio and your personal computer you have the basic elements of a high-performance computer recording system that is easy to set up and operate. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of your mixers superlative features and enjoy trouble-free operation for years to come. After reading the manual, please store it in a safe place.

Features

Connect To Your Computer via a Single USB Cable (page 7)
The MW mixer connects to your computer via the supplied USB cable. Stereo audio data is transferred in both directionsfrom the mixer to the computer, and vice-versavia the USB connection (44.1 kHz or 48 kHz sampling frequency).

Contents

Introduction..5
Features...5 Contents...5 Before Turning on the Mixer..6 Turning the Power On/OFF..6 Computer System Requirements.6 Cubase AI4 System Requirements.6
No Driver Installation Required (page 7)
The MW system uses the standard drivers included in your computers operating system, so theres no need to install any extra driver software.

Mixer Basics.. 7

Quick Guide..7
1. 2. 3. 4. 5. 6. Installing Cubase AI4..7 Connecting to the MW mixer..7 Powering Up the System..8 Adjusting Level and Tone..9 Recording with Cubase AI4..10 Mixing with Cubase AI4..13
Cubase AI4 DAW Software Supplied (page 7)
Cubase AI4 software, included in the MW package, offers versatile, high-performance hard-disk recording capability.

Compression (page 9)

Compression increase the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars.

Reference.. 15

Setup..15 Front & Rear Panels..16
Channel Control Section..16 Master Control Section..18 Digital Effect...20 Rear Input/Output Section..20 Digital Effect Program List..21 Jack List..21
Mixer Functions (page 16)
The MW mixer can handle up to 12 simultaneous inputs, mixing them to STEREO OUT or REC OUT. You could connect four microphones and four stereo sources, or six microphones and two stereo sources, for example. AUX SEND connectors are provided for convenient connection to external signal processors or other equipment.
48V Phantom Power (page 19)
A PHANTOM switch supplies +48V phantom power to the mixers microphone inputs, so you can use high-quality phantom-powered condenser microphones for superior recording quality.

Troubleshooting..22 Specifications..90
Electrical Specifications..90 General Specifications..90 Analog Input Specifications..91 Analog Output Specifications..91 Digital Input/Output Specifications..91 Dimensional Diagrams..92 Block Diagram and Level Diagram.93

Accessories

Cubase AI4 DVD-ROM Power adaptor (PA-20)* USB cable Owners Manual (this book)
* May not be included depending on your particular area. Please check with your Yamaha dealer.
About the accessory disk.94
SOFTWARE LICENSE AGREEMENT.94
Before Turning on the Mixer
Be sure that the mixers power switch is in the STANDBY position.
Use only the included power adaptor (PA-20) or an equivalent recommended by Yamaha. Use of a different adaptor may result in equipment damage, overheating, or re.
Computer System Requirements

Windows Vista

Computer OS CPU Memory Windows-based computer with built-in USB interface Windows Vista 1 GHz or higher Intel Core/Pentium/Celeron processor 1 GB or more
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.

Windows XP

Computer OS CPU Memory Windows-based computer with built-in USB interface Windows XP Professional/XP Home Edition 750 MHz or higher Intel Core/Pentium/Celeron processor 96 MB or more (128 MB or more recommended)

Macintosh

Computer Macintosh computer with built-in USB interface MacOS X 10.3.3 or higher Macintosh GMHz or higher/Intel processor 128 MB or more
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.

OS CPU Memory

Cubase AI4 System Requirements

Windows

OS Windows XP Professional/XP Home Edition 1.4 GHz or higher Intel Pentium processor 512 MB or more Windows DirectX compatible 400 MB or more

Turning the Power On/OFF

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. To prevent loud pops and noises, turn on the power to your sound gear starting with the sources (instruments, CD players, etc.) and ending with the power amplier or powered speakers. Example : Instruments, microphones, and CD players rst, then the mixer, and nally the power amplier or powered speakers. When turning off the power to the system, reverse the order described above.
CPU Memory Audio Interface Hard Disk

OS CPU Memory Hard Disk

MacOS X 10.4 or higher Power Mac GGHz/Core Solo 1.5 GHz or higher 512 MB or more 400 MB or more
A DVD driver is required for installation. To activate your software license, install the application while the computer is connected to the internet.

Mixer Basics

Quick Guide
This quick setup and operation guide covers everything from installing the Cubase AI4 software to using Cubase AI4 for recording and mixdown. While going through this section you might find it useful to also refer to the Front and Rear Panels section on page 16, as well as the pdf manual supplied with the Cubase AI4 software.

1 Installing Cubase AI4

IMPORTANT ! Since the End-User Software License Agreement (EUSLA) shown on your PC-display in your installing the DAW software is replaced by the agreement at the end of this manual, you should disregard the EUSLA. Read the Software License Agreement at the end of this manual carefully, and install the software if you agree to it.
Start the computer and log on to the Administrator account. Insert the included DVD-ROM into the computers DVD-ROM drive. Open the Cubase AI 4 for Windows folder and double-click on the CubaseAI4.msi.
Follow the on-screen instructions to install the Cubase AI4 software.
When installing Cubase AI4, you will need a working internet connection to register your Cubase AI4. Make sure to ll in all required elds for user registration. If you do not register the product, you will be unable to use the application after a limited period of time expires. For a Macintosh computer, double-click the CubaseAI4.mkpg icon for installation.
2 Connecting to the MW mixer
Turn the power to the MW mixer and all gear that is to be connected to the MW mixer off/standby (except the computer), and set the channel faders, STEREO OUT Master fader, and REC OUT fader to their minimum settings.
Connect the MW mixer to your computer using the supplied USB cable.
USB Connection Precautions
Be sure to observe the following points when connecting to the computers USB interface. Failure to observe these rules can result in computer freezes/ hang-ups and possibly data loss or corruption. If the MW mixer or computer does hang up, turn the power to both devices off and then on again, and restart the computer. Be sure to wake the computer from sleep/suspended/standby mode before making a connection to the computers USB connector. Connect the MW mixer to the computer before turning the MW mixer power on. Always quit all applications running on the computer before turning the MW mixers power on or off, or connecting or disconnecting the USB cable. Wait at least 6 seconds between turning the MW mixer on or off, and between connecting or disconnecting the USB cable.

You will normally use a stereo track when recording synthesizers, and a monaural track when recording vocals or guitar.
Click the Input Routing eld in the Inspector to select the audio input source. Select Stereo In 1 for a stereo track and Left (Right)-Stereo In 1 for a monaural track. Make sure the [Record Enable] button for the track to be recorded is turned on.
If the [Record Enable] button is off, click it to turn it on.

Rewind Forward Stop

Record Start

Recording results

Play the part. When you nish recording the track, click the Transport panel [Stop] button.
To hear playback of the track you have just recorded, use either the Transport panel [Rewind] button or the ruler to rewind to the beginning of the recorded section, then click the Transport panel [Start] button.
The overall playback level will be displayed via the master section bus level meter on the right side of the mixer window, and the channel level will be displayed via the channel strip level meter.
To save the project le select [Save] from the [File] menu and enter a le name before actually saving the le.
Save your project le frequently to insure against losing large amounts of data if a problem occurs.
Repeat steps 1 through 5 to record further material on the same track. To record additional material on a different track, select a new track and repeat the record procedure.
Click the [Narrow/Wide] button in the upper left corner of the mixer window to increase the width of the mixers channel strips. The output signal from Cubase AI4 is routed to the MW mixers 2TR IN inputs. To hear the playback sound via a pair of headphones plugged into the MW mixer, set the bus select switch to TO MONITOR ( ) and adjust the volume with the 2TR IN/USB control and the PHONES control.
You can monitor the sound being recorded and a previously recorded sound simultaneously while recording (MONITOR MIX). Refer to E 2TR IN/USB on page 19 for details.

[Narrow/Wide] button

Level meter

Bus level meter

6 Mixing with Cubase AI4
In this section well try mixing down multiple recorded audio tracks to stereo, and creating a wav le. Mixes can be stored as WAV or AIFF les, which can then be recorded to audio CDs.
Launch Cubase AI4 and open a project le. Click the [Start] button on the Transport Panel. While listening to playback, drag the channel strip level faders up and down to create the desired initial balance, then adjust the overall volume using the bus volume fader.
Start with the Featured Part
You can start working on a mix from almost any part, but it makes the most sense to start with the main instrument or vocal. Set up an initial level for the main part, and then build the rest of the mix around it. For example, if youre mixing a piano trio with a vocalist, begin by setting the level of the vocal track at around the nominal level, and then gradually add the other instruments. Your choices will also be inuenced by the type of music you are working on. If the song is a ballad you might want to add the piano to the mix after the vocal, and then add the bass and drums. If its a more rhythmically oriented piece you could add the bass and drums rst, and then the piano. Whatever best serves the music is right.

Recorder

Microphone DI

CD Player

Effect Processor (exciter)
Effect Processor Headphones
Powered Monitor Speaker Personal Computer

Powered Monitor Speakers

MW12CX

Front & Rear Panels

The following applies to both the MW12CX and MW12C. In cases where different features need to be described for each model, the MW12CX feature will be described first, followed by the MW12C feature in brackets: MW12CX (MW12C).

Channel Control Section

1 MIC Input Jacks (CHs 1 to 4, 5/6, 7/8)
Channels 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Channels 9/10 and 11/12 (Stereo)
These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold).
2 LINE Input Jacks (CHs 1 to 4)
These are balanced TRS phone-jack line inputs (T:Hot; R:Cold; S:Ground). You can connect either balanced or unbalanced phone plugs to these jacks.
3 LINE Input Jacks (CHs 5/6 to 11/12)
These are unbalanced phone-jack stereo line inputs.
4 LINE Input Jacks (CHs 9/10, 11/12)
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 to 4)
Each of these jacks provides an insert point between the equalizer and fader of the corresponding monaural input channel (CHs 1 to 4). The INSERT jacks are ideal for connecting 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).

A B C D

Patching external devices via an INSERT jack requires a special insert cable such as illustrated below (insert cable sold separately). To the input jack of the external processor

To the INSERT I/O jack

2 REC OUT 1 (L, R) Jacks

These are RCA pin jacks that can be used to connect to an external stereo recorder. The signal processed by the REC OUT fader is output via these jacks.

3 REC OUT 2 (L, R) Jacks

These are impedance-balanced TRS phone jacks that can be used to connect to an external stereo recorder. The signal processed by the REC OUT fader is output via the these jacks.
4 RETURN L (MONO), R Jacks
These are unbalanced phone-jack type line inputs. The signal received by these jacks is sent to the STEREO L/R bus and the AUX (AUX1) bus. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.).
These jacks can also be used as an auxiliary stereo input. If you connect to the L (MONO) jack only, the mixer will recognize the signal as monaural and will send the identical signal to both the L and R jacks.

5 SEND Jacks

AUX (AUX1)
This is an impedance balanced* TRS phone jack that outputs the signals from AUX (AUX1) bus. You can use this jack, for example, to connect to an effect unit, cue box, or other monitoring system.

EFFECT (AUX2)

This is an impedance balanced* TRS phone jack that outputs the signal from the EFFECT (AUX2) bus. You can use this jack, for example, to connect to an external effect unit.
6 STEREO OUT (L, R) Jacks
These jacks deliver the mixers stereo output. You can 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 H for level control.

XLR jacks

XLR-type balanced output jacks.

LINE jacks

TRS phone-jack type balanced outputs.

7 MONITOR OUT Jacks

* impedance balanced Since the hot and cold terminals of impedance balanced output jacks have the same impedance, these output jacks are less affected by induced noise.
Connect these impedance-balanced* TRS phone jacks to your monitor system.
The signal output by these jacks is determined by the MONITOR switch D, the 2TR IN/USB E, and the PFL switches on the input channels.

8 PHONES Jack

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

D MONITOR/PHONES

MONITOR Switch
If this switch is set to REC ( ), the REC L/R bus signals are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to STEREO ( ), the STEREO L/R bus signals are sent to these jacks and the level meter.

9 PHANTOM +48 V Switch

This switch toggles phantom power on and off. When the switch is on the mixer supplies +48V phantom power to all channels that have XLR mic input jacks (CHs 14, 5/6, 7/8). Turn this switch on when using one or more phantom-powered condenser microphones.

MONITOR Control

Controls the level of the signal output to the MONITOR OUT jacks.

PHONES Control

Controls the level of the signal output to the PHONES jack.
When this switch is on the mixer supplies DC +48 V power to pins 2 and 3 of all XLR-type MIC INPUT jacks. Be sure to leave this switch off ( not need phantom power. ) if you do

E 2TR IN/USB

2TR IN/USB Switch
If this switch is set to TO MONITOR ( ), the signals input via the 2TR IN jacks and the USB connector are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R bus.
When tuning the switch on ( ), be sure that only condenser mics are connected to the XLR input jacks (CHs: 1 to 7/8). Devices other than condenser mics may be damaged if connected to the phantom power supply. Note, however, that the switch may be left on when connecting to balanced dynamic microphones. To avoid damage to speakers, be sure to turn off ampliers (or powered speakers) before turning this switch on or off. We also recommend that you turn all output controls (STEREO OUT Master Fader, REC OUT Fader, etc.) to their minimum settings before operating the switch to avoid the risk of loud noises that could cause hearing loss or device damage.

2TR IN/USB control

Adjusts the level of the signal sent from the 2TR IN jacks and the USB connector to the STEREO L/R bus. The following illustration shows how the switch settings correspond to the signal selection.
Switches PFL ON MONITOR/ PHONES 2TR IN/USB TO STEREO STEREO OFF REC TO MONITOR TO STEREO TO MONITOR Signals output via the MONITOR/PHONES jacks PFL STEREO (+ 2TR IN/USB) STEREO + 2TR IN/USB * REC REC (+ 2TR IN/USB)

0 RETURN

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

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.
: When overdubbing, you can adjust the levels of the monitor playback signal and the signal being recorded separately. For MONITOR MIX turn on the REC and ST switches of the corresponding channels.

MONITOR MIX Signal Flow

2TR IN/ USB Playback signal STEREO bus Recording signal ST switch REC switch 2TR IN/USB control MONITOR/ PHONES controls MONITOR OUT/PHONES jacks STEREO OUT Master fader REC OUT/USB
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.

USB Audio 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 MW12CX) LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight Input/Output: 44.1/48 kHz CHs 17/8, 80 Hz, 12 dB/oct CHs 17/8 HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) CH 9/1011/12 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 5/6, 7/8) 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) PEAK lights if the signal level reaches 3 dB below the clipping level. PA-20 AC 35 VCT, 0.94 A, Cable Length = 3.6 m 30 W 346.2 mm x 86.1 mm x 436.6 mm 3.2 kg (MW12CX), 3 kg (MW12C)
All faders are nominal if not specied. Output impedance of signal generator: 150 ohms * The MW12CX feature is described rst, followed by the MW12C feature in brackets: MW12CX (MW12C)

Reference Specifications

Analog Input Specications
Input Connectors Gain -60 dB 3k -16 dB -34 dB 10k +10 dB -60 dB 3k -16 dB -34 dB 10k +10 dB 10k 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) -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)

Connector Specications

CH INPUT MIC (CHs 14)

50600 Mics

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

CH INPUT LINE (CHs 14)

600 Lines

[0dBu]

MIC REC OUT2/ GROUP OUT

PHANTOM +48V PEAK RE

[-60 to -16dBu]

3-Stage EQ

[-34 to +10dBu]

INSERT I/O

PEAK RE

CH INPUT LINE

GAIN Trim

(CH1 to 4)

[16 to 60dB]

TH+GAIN

ST [0dBu] ON CH Fader [-10dBu] STEREO Fader R SUM BA PRE BA PFL STEREO/REC (GROUP) R
[-34 to +10dBu] BAL/PAN BA [0dBu] [0dBu] AUX *1 YE EFFECT *1 [-14dBu] [-14dBu] REC/ G12 [0dBu] [+4dBu] SUM [0dBu] [-10dBu] BA L
STEREO L STEREO R REC L/GROUP 1 REC R/GROUP 2 PFL L PFL R PFL CTRL

STEREO OUT

ST CH INPUT

(CH5/6, 7/8)

[6 to 50dB]

LINE L/MONO

LINE R
[0dBu] LED METER ST [0dBu] ON [0dBu] AUX *1 YE PRE BA [-6dBu] PFL LED METER [-16dBu] DR EFFECT *1 [-14dBu] [-14dBu] SUM SUM [-10dBu] BA [0dBu] [0dBu] [-6dBu] SUM [0dBu] [0dBu] SUM CH Fader REC/ G12 BAL MONITOR INV DR

REC OUT1

[-10dBV] [-7.8dBu]

2-Stage EQ

MONITOR OUT

INV R PHONES INV [+4dBu]

Block Diagram and Level Diagram

(CH9/10, 11/12) [-10dBu]

R +15V
[-6dBu] ST SUM AUX *1 [-14dBu] SUM [0dBu] [0dBu] AUX SEND *1 [-6dBu] INV BA

[3mW @ 40ohms]

L/MONO

AUX SEND *1

[+4dBu]

RETURN

R TO STEREO/TO MONITOR

2TR IN [-6dBu]

EFFECT SEND *1 [-6dBu]

EFFECT SEND *1

2TR IN
SUM LPF [+4dBu] EFFECT RETURN LO [-10dBu] [0dBu] [+4dBu] RO BA LPF AUX [-14dBu] PFL YE BA LPF LIN RIN LO LPF RO D-

USB USB AUDIO

D+ GND

FOOT SW EFFECT ON/OFF

(Bus Powered) Vbus
PROGRAM (116) DIGITAL EFFECT (DSP)

PARAMETER

*1 MONITOR MIX

MODEL MW12CX MW12C

FUNCTION NAME AUX AUX1 EFFECT AUX2

only MW12CX

+30dBu
Clip Level RETURN [+4dBu] 2TR IN [-10dBV] RETURN 2TR IN [Nominal:-6dB] AUX SEND *1 [Nominal:-6dB] REC OUT 2 [-7.8dBu] REC Fader [Nominal:-10dB] STEREO Master [Nominal:-10dB] PHONES [Nominal:-16dB] CH AUX *1 [Nominal:-6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level REC OUT 1 [+4dBu] Clip Level STEREO OUT [+4dBu] MONITOR OUT [+4dBu] PHONES [3mW @ 40ohms] MONITOR [Nominal:-6dB] Clip Level

+30dBu +20dBu +10dBu 0dBu -10dBu -20dBu -30dBu

+20dBu

Clip Level

+10dBu

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

-10dBu

CH IN MIC Gain:Min [-16dBu]
ST CH IN MIC Gain:Min [-16dBu]

-20dBu

ST CH IN [-10dBu]

-30dBu

CH IN LINE Gain:Max [-34dBu]
ST CH IN LINE Gain:Max [-34dBu]
[-7.8dBu] CH Level ST CH Level [Nominal:-10dB]
EFFECT RETURN [Nominal:-10dB] ST CH AUX *1 DSP AUX [Nominal:-6dB]

-40dBu

-50dBu

-60dBu

CH IN MIC Gain:Max [-60dBu]
ST CH IN MIC Gain:Max [-60dBu]

Specifications

About the accessory disk

SPECIAL NOTICE

The software included in the accessory disk and the copyrights thereof are under exclusive ownership by Steinberg Media Technologies GmbH. Use of the software and this manual is governed by the license agreement which the purchaser fully agrees to upon breaking the seal of the software packaging. (Please read carefully the Software Licensing Agreement at the end of this manual before installing the application.) Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. This disk is NOT for audio/visual purpose. Do not attempt to play the disk on an audio/visual CD/DVD player. Doing so may result in irreparable damage to your player. For information about the minimum system requirements and latest information of the software in the disk, check the web site below. <http://www.yamahasynth.com/> Note that Yamaha does not offer technical support for the DAW software in the accessory disk.
About the DAW software in the accessory disk
The accessory disk contains DAW software both for Windows and Macintosh.
Make sure to install DAW software under the Administrator account. In order to install the software in the accessory disk, youll need a working Internet connection. Make sure to ll in all required elds when installing. If you are using a Macintosh computer, double-click the ***.mpkg le to start installation.
For information about the minimum system requirements and latest information on the software in the disk, check the web site below. <http://www.yamahasynth.com/>

About software support

Support for the DAW software in the accessory disk is provided by Steinberg on its website at the following address. http://www.steinberg.net You can visit the Steinberg site also via the Help menu of the included DAW software. (The Help menu also includes the PDF manual and other information on the software.)

ATTENTION

SOFTWARE LICENSE AGREEMENT
PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (AGREEMENT) CAREFULLY BEFORE USING THIS SOFTWARE. YOU ARE ONLY PERMITTED TO USE THIS SOFTWARE PURSUANT TO THE TERMS AND CONDITIONS OF THIS AGREEMENT. THIS AGREEMENT IS BETWEEN YOU (AS AN INDIVIDUAL OR LEGAL ENTITY) AND YAMAHA CORPORATION (YAMAHA). BY BREAKING THE SEAL OF THIS PACKAGE YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF YOU DO NOT AGREE WITH THE TERMS, DO NOT INSTALL, COPY, OR OTHERWISE USE THIS SOFTWARE. THIS AGREEMENT PROVIDES YOUR USE-CONDITIONS ABOUT THE DAW SOFTWARE OF STEINBERG MEDIA TECHNOLOGIES GMBH(STEINBERG) WHICH IS BUNDLED WITH THIS PRODUCT. SINCE THE END-USER SOFTWARE LICENSE AGREEMENT (EUSLA) SHOWN ON YOUR PC-DISPLAY IN YOUR INSTALLING THE DAW SOFTWARE IS REPLACED BY THIS AGREEMENT, YOU SHOULD DISREGARD THE EUSLA. THAT IS, IN THE INSTALLING PROCESS, YOU SHOULD SELECT AGREE WITH THE EUSLA, WITHOUT YOUR JUDGMENT THERETO, SO AS TO PROCEED TO THE NEXT PAGE.
1. GRANT OF LICENSE AND COPYRIGHT
Yamaha hereby grants you the right to use one copy of the software program(s) and data (SOFTWARE) accompanying this Agreement. The term SOFTWARE shall encompass any updates to the accompanying software and data. The SOFTWARE is owned by STEINBERG, and is protected by relevant copyright laws and all applicable treaty provisions. Yamaha has acquired the sublicense right to license you to use the SOFTWARE. While you are entitled to claim ownership of the data created with the use of SOFTWARE, the SOFTWARE will continue to be protected under relevant copyrights.
You may use the SOFTWARE on a single computer. You may make one copy of the SOFTWARE in machinereadable form for backup purposes only, if the SOFTWARE is on media where such backup copy is permitted. On the backup copy, you must reproduce Yamahas copyright notice and any other proprietary legends that were on the original copy of the SOFTWARE. You may permanently transfer to a third party all your rights in the SOFTWARE only when you transfer this product together, provided that you do not retain any copies and the recipient reads and agrees to the terms of this Agreement.

2. RESTRICTIONS

You may not engage in reverse engineering, disassembly, decompilation or otherwise deriving a source code form of the SOFTWARE by any method whatsoever. You may not reproduce, modify, change, rent, lease, or distribute the SOFTWARE in whole or in part, or create derivative works of the SOFTWARE. You may not electronically transmit the SOFTWARE from one computer to another or share the SOFTWARE in a network with other computers. You may not use the SOFTWARE to distribute illegal data or data that violates public policy. You may not initiate services based on the use of the SOFTWARE without permission by Yamaha Corporation. Copyrighted data, including but not limited to MIDI data for songs, obtained by means of the SOFTWARE, are subject to the following restrictions which you must observe. Data received by means of the SOFTWARE may not be used for any commercial purposes without permission of the copyright owner. Data received by means of the SOFTWARE may not be duplicated, transferred, or distributed, or played back or performed for listeners in public without permission of the copyright owner. The encryption of data received by means of the SOFTWARE may not be removed nor may the electronic watermark be modied without permission of the copyright owner.
5. DISCLAIMER OF WARRANTY ON SOFTWARE
You expressly acknowledge and agree that use of the SOFTWARE is at your sole risk. The SOFTWARE and related documentation are provided AS IS and without warranty of any kind. NOTWITHSTANDING ANY OTHER PROVISION OF THIS AGREEMENT, YAMAHA EXPRESSLY DISCLAIMS ALL WARRANTIES AS TO THE SOFTWARE, EXPRESS, AND IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS. SPECIFICALLY, BUT WITHOUT LIMITING THE FOREGOING, YAMAHA DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT DEFECTS IN THE SOFTWARE WILL BE CORRECTED.
6. LIMITATION OF LIABILITY
YAMAHAS ENTIRE OBLIGATION HEREUNDER SHALL BE TO PERMIT USE OF THE SOFTWARE UNDER THE TERMS HEREOF. IN NO EVENT SHALL YAMAHA BE LIABLE TO YOU OR ANY OTHER PERSON FOR ANY DAMAGES, INCLUDING, WITHOUT LIMITATION, ANY DIRECT, INDIRECT, INCIDENTAL OR CONSEQUENTIAL DAMAGES, EXPENSES, LOST PROFITS, LOST DATA OR OTHER DAMAGES ARISING OUT OF THE USE, MISUSE OR INABILITY TO USE THE SOFTWARE, EVEN IF YAMAHA OR AN AUTHORIZED DEALER HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. In no event shall Yamahas total liability to you for all damages, losses and causes of action (whether in contract, tort or otherwise) exceed the amount paid for the SOFTWARE.

Specifications

MW10C Frequency Response Total Harmonic Distortion (THD+N) Hum&Noise Hum & Noise are measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation." Crosstalk@1 kHz Phantom Voltage USB Audio I/O Sampling Frequency Input HPF Input Equalization +15,-15dB maximum. Turn over/roll-off frequency of shelving: 3dB blow maximum variable level. PEAK Indicator Internal Digital Effect LED Level Meter Power Supply Adapter Power Consumption Dimensions Net Weight Option Pre MONITOR Level ST OUT, REC OUT, AUX (EFFECT*) SEND, MONITOR OUT ST OUT CH INPUT 1-4 MIC ST OUT, REC OUT AUX (EFFECT*) SEND ST OUT, REC OUT ST OUT Input to Output MIC MW8CX MW12C MW12CX -3.0, 0, 1.0 dB, GAIN: min(CH 1-2, CH 3/4-5/6), 20Hz-20kHz, refer to the nominal output level @1kHz Less Than 0.1 %, +14dBu, 20Hz-20kHz, Input Gain Control at minimum -128 dBu, EIN(Equivalent Input Noise): Rs=150, GAIN:max -88 dBu, ST,REC Master fader at nominal level and all Ch mix controls at minimum. -87 dBu, ST MASTER CONTROL at nominal level and all Ch level controls at minimum. -81 dBu, AUX Master control at nominal level and all Ch mix controls at minimum. -85 dB, All Ch AUX controls at minimum. -64 dB, ST,REC Master fader and one Ch fader at nominal level. -64 dB, ST Master control and one Ch level control at nominal level. (CH1,2) -98 dB, Residual Output Noise. -100 dB, Residual Output Noise. -70 dB,STEREO L/R, CH 1-4, PAN panned Hard left or right. -70 dB, STEREO L/R, CH 1-2, PAN panned Hard left or right. +48 V 44.1, 48 kHz, Depend on the application of PC CH 1-2 and CH 3/4-5/6, 80Hz, 12dB/oct CH 1-4, CH 5/6-7/8, 80Hz, 12dB/oct 10 kHz shelving (CH 1-2, CH 3/4-5/6) 10 kHz shelving (CH 1-4, CH 5/6-7/8) 2.5 kHz peaking (CH 1-2, CH 3/4-5/6) 2.5 kHz peaking (CH 1-4, CH 5/6-7/8) 100 Hz shelving (CH 1-2, CH 3/4-5/6) 100 Hz shelving (CH 1-4, CH 5/6-7/8) 10 kHz shelving (CH 7/8, CH 9/10**) 10 kHz shelving (CH 9/10-11/12) 100 Hz shelving (CH 7/8, CH 9/10**) 100 Hz shelving (CH 9/10-11/12) Red LED turns on when post EQ (ST CH: or post Mic HA) signal reaches -3dB below clipping (17dBu). 16 PROGRAM, PARAMETER control 16 PROGRAM, PARAMETER control Foot Switch (Digital Effect, on/off) Foot Switch (Digital Effect, on/off) 2x7 points LED meter (PEAK,+6,+3,0,-5,-10,-20 dB) 2x12 points LED meter (PEAK,+10,+6,+3,0,-3,-6,-10,-15,-20,-25,-30 dB) PEAK lights if the signal comes within 3 dB of the clipping level. PEAK lights if the signal comes within 3 dB of the clipping level. PA-10 PA-W 30 W 256.6 x 302.5 x 62.2 346.2 x 436.6 x 86.1 3.2 kg 3 kg 1.6 kg 1.7 kg Foot Switch (FC5) Microphone Stand Adaptor(BMS-10A) Microphone Stand Adaptor(BMS-10A), Foot Switch (FC5) Output impedance of signal generator:150ohms *: EFFECT SEND exists only in MW8CX, MW12CX **: ST CH IN 9/10 exists only in MW10C

High Mid Low High Low

W x D x H (mm)
All fader are nominal when measured. (Nominal position is adjusted to a position that is 6dB lower than the MAX position)

MW10C / MW8CX

ANALOG INPUT CHARACTERISTICS
Connections CH INPUT MIC (1, 2) CH INPUT LINE (1, 2) ST CH MIC INPUT (3/4, 5/6) ST CH LINE INPUT (3/4, 5/6) ST CH INPUT (7/8, 9/10 *7) CH INSERT IN (1, 2) RETURN (L, R) 2TR IN (L, R) Gain Trim 60 dB 16 dB 34 dB +10 dB 60 dB 16 dB 34 dB +10 dB Actual Load Impedance 3k 10 k 3k 10 k 10 k 10 k 10 k 10 k For Use With Nominal 50600 Mics 600 Lines 50600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines Sensitivity *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) 12 dBu (195 mV) 8 dBu (308 mV) 22 dBV (79.4 mV) *4 *5 *6 *7 Input level Nominal 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 (0.316 V) Max. before clip 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) +20 dBu (7.75 V) +24 dBu (12.3 V) +10 dBV (3.16 V) Connector XLR-3-31 type *3 TRS Phone Jack *4 XLR-3-31 type *3 Phone Jack *5 Phone Jack *5 RCA Pin Jack Phone Jack (TRS) *6 Phone Jack *5 RCA Pin Jack

MW12C / MW12CX

Connections CH INPUT MIC (1-4) CH INPUT LINE (1-4) ST CH MIC INPUT (5/6, 7/8) ST CH LINE INPUT (5/6, 7/8) ST CH INPUT (9/10, 11/12) CH INSERT IN ( 1-4) RETURN (L, R) 2TR IN (L, R) Gain Trim 60 dB 16 dB 34 dB +10 dB 60 dB 16 dB 34 dB +10 dB Actual Load Impedance 3k 10 k 3k 10 k 10 k 10 k 10 k 10 k For Use With Nominal 50600 Mics 600 Line 50600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines Sensitivity *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) *3 *4 *5 *6 Input level Nominal 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 clip 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) Connector XLR-3-31 type *3 Phone Jack (TRS) *4 XLR-3-31 type *3 Phone Jack *5 Phone Jack *5 RCA Pin Jack Phone Jack (TRS) *6 Phone Jack *5 RCA Pin Jack
MW10c / MW8cx / MW12c / MW12cx
*dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms. *2 Sensitivity is 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 maximum level. (all faders and level controls are at maximum position.) *3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) Phone Jacks are unbalanced. Phone Jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND) ST CH IN 9/10 exists only in MW10C
*dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms. *2 Sensitivity is 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 maximum level. (all faders and level controls are at maximum position.)
XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) Phone Jacks are unbalanced. Phone Jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND)

ANALOG OUTPUT CHARACTERISTICS
Connections Actual Source Impedance For Use With Nominal STEREO OUT (L, R) k Lines AUX SEND (EFFECT SEND *9) k Lines CH INSERT OUT (CH 1, 2) k Lines REC OUT (L, R) k Lines MONITOR OUT (L, R) k Lines PHONES OUT Phones *dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms. *2 Phone Jacks are impedance balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) *3 Phone Jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND) *4 EFFECT SEND exists only in MW8CX Output level Nominal Level Max. before clip +4 dBu (1.23 V) +20 dBu (7.75 V) +4 dBu (1.23 V) +20 dBu (7.75 V) 0 dBu (0.775 V) +20 dBu (7.75 V) 10 dBV (0.316 V) +10 dBV (3.16 V) +4 dBu (1.23 V) +20 dBu (7.75 V) 3 mW 75 mW Connector Phone Jack *8 Phone Jack *8 Phone Jack *6 RCA Pin Jack Phone Jack *8 Stereo Phone Jack
Connections STEREO OUT (L, R) GROUP OUT (1, 2) AUX SEND (1, 2 *10) (EFFECT SEND *11) CH INSERT OUT (CH 1-4) REC OUT (L, R) MONITOR OUT (L, R) PHONES OUT *1 *2 *3 *4 Actual Source Impedance 100 For Use With Nominal 600 Lines 10 k Lines 10 k Lines 10 k Lines 10 k Lines 10 k Lines 40 Phones Output level Nominal Level Max. before clip +4 dBu (1.23 V) +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 +24 dBu (12.3 V) +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 XLR-3-32 type*2 Phone Jack *3 Phone Jack *4 Phone Jack *4 Phone Jack *5 RCA Pin Jack Phone Jack *4 Stereo Phone Jack
0 dBu is referenced to 0.775 Vrms. 0 dBV is referenced to 1 Vrms. XLR-3-32 type connectors are balanced. (1=GND,2=HOT, 3=COLD) Phone Jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) Phone Jacks are impedance balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
*5 Phone Jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND) *6 AUX SEND 2 exists only in MW12C. *7 EFFECT SEND exists only in MW12CX.
MW10C / MW8CX / MW12C / MW12CX System Requirements
Windows Vista Computer OS CPU Memory Windows XP Computer OS CPU Memory Windows-based computer with built-in USB interface Windows Vista 1 GHz or better Intel Core / Pentium / Celeron processor More than 1 GB Windows-based computer with built-in USB interface Windows XP Professional / XP Home Edition 750 MHz or better Intel Core / Pentium / Celeron processor More than 128 MB Macintosh Computer OS CPU Memory
Cubase AI4 System Requirements
Windows OS CPU Available Memory Hard Disk Audio Interface Macintosh OS CPU Available Memory Hard Disk
Macintosh computer with built-in USB interface Mac OS X 10.3.3 or higher Macintosh G3 processor 300 MHz or better More than 128 MB
Windows XP Professional / XP Home Edition Intel Pentium 1.4 GHz or better More than 512 MB Free disk space of 400 MB or more; high-speed hard disk Windows DirectX / ASIO compatible
Visit the web address below for the latest information on supplied software and operating system requirements.

http://www.yamahasynth.com/
Mac OS X 10.4 or higher Power Mac GGHz or Core Solo 1.5 GHz or better More than 512 MB Free disk space of 400 MB or more; high-speed hard disk
Turn your computer into a complete home recording studio

LCK-0701

Your Personal Recording Studio
If you have a computerlaptop or desktop, Windows or Macintoshand you want to make music with it, weve got the setup for you. The new MW USB Mixing Studio series mixers give you everything you need to turn your computer system into a complete, fullfeatured, high-performance home recording studio. The new MW uses a single cable USB connection to interface with your computer, for bi-directional audio data transfer. It gives you comprehensive signal input and mixing features in a compact size. It also includes the powerful Cubase AI4 music production software, allowing you to capture your performances, embellish and enhance them with plug-in synths and effects, and mix them down to stereo. In other words, the MW gives you all the elements of a recording system, one that is remarkably easy to set up and operate.

1 Setting up Cubase AI4

After youve installed and launched Cubase AI4 for the first time, youll need to make a few configuration settingsenabling inputs and outputs within the software. Once youve done this, the MW can be used for recording every time you open Cubase AI4. Installation of driver software isnt necessary, but you may want to download and install an ASIO DirectKS driver (available on our website) for optimum realtime use with MIDI instruments.
Includes Cubase AI4 software
The new MW USB Mixing Studio series mixers give you absolutely everything you need to turn your computer into a complete home recording studioand that includes Steinbergs full-featured Cubase AI4 software. Cubase AI4 is a comprehensive music production software based on the flagship Cubase 4 program that has been specially bundled with the new MW. It gives you up to 48 simultaneous audio tracks and 64 MIDI tracks, plus a variety of VST plug-in software synths and effects, as well as full VSTi compatibility. The AI in Cubase AI4 stands for Advanced Integration, and this new software delivers sophisticated functions and a level of hardware/software integration that other programs cant match. Thanks to the built-in Studio Connections system, Cubase AI4 lets you use compatible hardware instruments (such as Yamahas MOTIF XS synthesizer) directly and seamlessly within your computer-based environment. Check out the example applications below to see how you can use the MW in creating and recording your own musicand look at the section on Cubase AI4 later in the brochure for details on this powerful program.

2 Setting up the MW Mixing Studio
Turn on the power to the MW mixer, then connect it to your computer with the included USB cable. Connect the any microphones and instruments you intend to record with to the proper input channels. You can also connect any external devices you intend to usesuch as effect units, amplifiers and speakers. To prevent loud pops, turn on amplifiers or powered speakers last. Adjust the levels of each input on the mixer as needed, adding compression and tweaking the EQ as desired for the best sound.
3 Getting ready to record
Open a new project in Cubase AI4, and set up for recording. Select or create an audio track (stereo or mono) and make sure the Input Routing is appropriate. Turn Click on so that you have a metronome guide for playing. Set the start point for recording, too. Everything connected? Youre almost ready Turn Record Enable on, and check the levels while you adjust the Gain and Master Level controls on the MW.
To record MIDI data and use the plug-in synths included in Cubase AI4, you'll need a proper MIDI interface. The optional Yamaha UX16 MIDI/USB Converter provides a very simple, inexpensive way to get MIDI data into and out of your computer. Alternately, you could use a synthesizer equipped with USB interface, such as theYamaha MOTIF XS.

4 Recording and playback

Now start recording (from the Transport panel), play or sing the part, and stop when youre finished. Play it back and add other parts to it as needed, building up a complete song part-by-part.

Band Recording

When you bring several musicians and singers together for a session, sparks can fly and magic can happen. Armed with just a laptop computer and the new MW USB Mixing Studio, you can capture all that magic. Portable, self-contained, flexible, comprehensivethe MW mixers give you virtually everything you need to make great recordings. Since the included Cubase AI4 software gives you 48 tracks of audio to work with, you can build up songs part-by-part and easily create professional sounding arrangements. Use the MW as a keyboard submixer when you play live, or use it as a utility mixer for events, gatherings and small rehearsalsand even record these events direct to stereo on your computer. The new MW series is also ideal for collaborating with others. Just bring it along with your laptop and guitar, and youve got a complete, portable mobile studioready to go anywhere and record with anyone.

Songwriting and Solo Productions
If youre a solo musician, songwriter and home studio owner, youll appreciate the simplicity and convenience of the new MW series. With your desktop computer and the included Cubase AI4 software, the new MW series mixers give you a simple yet comprehensive system for recording all your musical ideasand capturing those precious moments of inspiration, quickly and easily. Plug in a guitar, a microphone, a keyboard, even a CD player. Use the threeband EQ to tweak your sound, and connect your favorite effect device to the send/return jacks for further processing. The familiar mixer layout lets you stay in your comfort zone and work efficiently. With the MW8CX and MW12CX, you even have a selection of built-in effects you can use to process your tracks right from the mixer. Recording to Cubase AI4 is a breeze, tooand you can use your plug-in software synths and effects in real time.

5 Mixing your song

Once you have several different partsall on different trackscall up the Mixer window. Use the faders in the Mixer to control the balance of the parts, and use the Pan controls and EQ processing to adjust the sound as needed. You can also add plug-in effects within Cubase AI4including reverbs, delays, distortion, and moreto process and enhance the sound as desired.

HS Speakers

TIP Use your favorite outboard gear
If youre recording vocals, you can insert your favorite outboard compressor or EQ into the signal path before recording, by using the MWs top-panel INSERT jacks. Guitarists can plug in their stomp boxes to record the exact sound they want.
Synthesizer(MO6 etc.) Electric Bass Electric Guitar Drums Headphone Acoustic Guitar Preamp for Acoustic Guitar
Preamp for Electric Guitar Preamp for Electric Bass
TIP Dig into your mic closet
The MW also has 48V phantom power, so you can use high-quality condenser or ribbon microphones and get pro-quality sound for your vocals and acoustic instruments.
USB NOTE PC MW12 Desktop PC
Mics(Condenser Microphones)

USB MW10

COMPACT MIXERS
Single USB connection, instant studio
With Yamahas new MW10C and MW8CX USB Mixing Studio mixers, making great music is easier than ever before. Combined with the powerful Cubase AI4 audio/MIDI sequencing software, the new MW series provides a comprehensive tabletop studio setup for the solo recording musician and for the travelling producer/arranger. Connect the new MW to a USB terminal on your laptop or desktop computer, and youve got an instant, high-quality audio recording studio at your command. The MW delivers true plug-and-play USB audio input/output interfacingwithout the need for special software driversand lets you easily record mono inputs or twotrack stereo mixes of multiple sources to your computer.

MID-SIZE MIXERS

With Yamahas new MW12C and MW12CX USB Mixing Studio mixers, making great music is easier than ever before. Combined with the powerful Cubase AI4 audio/MIDI sequencing software, the new MW series provides a comprehensive tabletop studio setup for the solo recording musician and for the travelling producer/arranger. Connect the new MW to a USB terminal on your laptop or desktop computer, and youve got an instant, high-quality audio recording studio at your command. The MW delivers true plug-and-play USB audio input/output interfacingwithout the need for special software driversand lets you easily record mono inputs or twotrack stereo mixes of multiple sources to your computer.
Flexible 8-channel and 10-channel configurations
The MW8CX gives you a total of eight inputs, including four ultra-low-noise mic preamps. The MW10C gives you an additional stereo channel for a total of ten inputs. The high-performance balanced microphone inputs also have a phantom power switch, allowing you to take advantage of the superior sonic quality of professional-level condenser microphones.
Flexible 12-channel configuration
The MW12C and MW12CX both give you a total of twelve inputs, including four mono microphone/line inputs and four stereo line inputs. Two of the stereo line inputs can also function as mono microphone inputs, providing up to six simultaneous microphone inputs if you need them. The high-performance ultra-low-noise balanced microphone inputs also have a phantom power switch, allowing you to take advantage of the superior sonic quality of professional-level condenser microphones.
Easy-to-use 1-knob compression
Compressionthe taming of wildly varying levels in vocals, bass and guitaris one of the most important effects used in recording and mixing. It is also one of the most subtle and difficult to use. Not with the new MW series mixers, however. The innovative 1-knob analog compressor (on the mono input channels) lets you dial in just the amount of compression you need in recording, without having to set multiple parameters like threshold, ratio and makeup gain. One knob does it all for youinstantly giving you great, punchy sound.

Assignable Rec Out

In addition to the normal stereo buss, the MW12C and MW12CX has assignable busses (REC OUT). This feature gives you addes flexibility in routing the signals for recording and monitoring. Turning on the ON switch for any channel immediately routes that channel to the USB terminal and enables it for recording. Multiple channels selected in this way are, of course, recorded to a stereo mix on the computer. In this condition, each channel is also mixed to the stereo buss and can be monitored (with the Monitor Mix function).

Monitor Mix

This convenient feature gives you simple control over the balance between the signals being recorded and the playback signals being monitored. This is particularly helpful when recording several sources at the same time, letting you use a single knob to adjust the balance of the playback and recording signals for monitoring purposes. Naturally, this doesnt affect the recording level; it simply allows you to control what you want to hear.
Easy-access panel and high-quality parts
Top-mounted input and output connectors make setting up and re-patching your system quick and easy. Both models feature high-quality Neutrik balanced XLR connectors for the microphone inputs. The mixer also has a bright, easy-to-view 7-segment LED meter for visual signal indication.
Built-in SPX Effects on MW8CX
For those who like the convenience of having signal processing right inside the mixer, the MW8CX incorporates a versatile digital multi-effect unit that provides a variety of reverb, delay, modulation, and distortion programs you can use to enhance your sound, or completely transform itwithout the need for an external device. Each of the 16 effect programs has a number of editable parameters as well as effect on/off switching capability and return level control. If you need to keep both hands free to play an instrument or perform other operations, an optional footswitch can be connected to the mixers effect footswitch jack for convenient on/off switching.
Top-mounted input and output connectors make setting up and re-patching your system quick and easy. Both models feature high-quality Neutrik balanced XLR connectors for the microphone inputs. Long-throw, smooth-action faders give you precise and tactile control over signal levels. The mixer also has a bright and large 12-segment LED meter for visual signal indication.
Built-in SPX Effects on MW12CX
For those who like the convenience of having signal processing right inside the mixer, the MW12CX incorporates a versatile digital multi-effect unit that provides a variety of reverb, delay, modulation, and distortion programs you can use to enhance your sound, or completely transform itwithout the need for an external device. Each of the 16 effect programs has a number of editable parameters as well as effect on/off switching capability and return level control. If you need to keep both hands free to play an instrument or perform other operations, an optional footswitch can be connected to the mixers effect footswitch jack for convenient on/off switching.

Dimensions

MW10c / MW8cx

MW12c / MW12cx

Channel On switches
Dedicated On switches for each channel let you enable or disable (mute) individual input channels as desired, while the lamps on the switches give you instant visual indication about which channels are on.

unit :mm

Block and Level Diagram

Cubase 4 sound engine

At the heart of Cubase AI4 is the same high-quality audio engine used in the top-of-the-line Cubase 4 system. Record and mix your tracks with professional quality 32bit/96kHz resolution, and enjoy the clearest, most accurate and most pristine digital sound throughout the entire signal chain.
Extensive editing features
Cubase AI4 gives you a number of sophisticated, useful tools for controlling and rearranging your recordings. You can use the main Project window to record and do basic cut-and-paste work on your tracks, and use the other editing windows for more detailed changes. The Sample Editor, for example, lets you easily manipulate your audio recordings. For MIDI recordings, there are a variety of optionsthe Key Editor (in piano roll form), the Drum Editor (with convenient event and drum mapping indications), the Score Editor (for notation based editing), and the detailed List Editor (showing all MIDI events).
SoundFrame - Universal Sound Management
SoundFrame is a new powerful system built into Cubase AI4 that manages all of your sounds, samples, presets and loops in one centralized database. It puts all of your music materials in one easy-to-access, easy-to-organize location, and makes recording and song creation more efficient than ever before. SoundFramewhen used with the included HALion ONE software sampler (see below)can help you easily and quickly find any sound, not only by instrument but also by category, type, style, character or other attributes. You can even instantly preview sounds before loading. SoundFrame also allows you to manage your VST effects plug-in presets, organizing and categorizing them to form one big effects library.
Comprehensive plug-in effects
Other important Cubase AI4 features include a comprehensive set of VST3 plug-ins, including 15 new and dynamic effect types. Use them to process your recorded tracks within your computerwithout the need for external processors.
Wide variety of sample loops included
A sample set of 480 different drum and rhythm loops has been included, as well as 20 types of MIDI Style files (for backing tracks) so that you can get started making quality music right out of the box.
Includes HALion ONE software sampler
Cubase AI4 comes loaded with the powerful HALion ONE software sampler. This sample playback plug-in perfectly integrates with the sequencer and is optimized for use with the SoundFrame features. It features more than 150 brand-new ready-to-play sounds using high-quality samples from Yamahas renowned MOTIF series instrumentscovering acoustic and electronic instruments, as well as synth timbres and drums.