MIXING CONSOLE MIXING CONSOLE

Owners Manual

Making the Most Of Your Mixer

Pages 6 to 16

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

WARNING

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

Power supply/Power cord

Only use the voltage specied as correct for the device. The required voltage is printed on the name plate of the device. Use only the specied AC power adaptor (PA-20 or an equivalent recommended by Yamaha). Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Water warning

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

Do not open

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

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following:
Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. When removing the electric plug from the device or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. To avoid generating unwanted noise, make sure there is 50 cm or more between the AC power adaptor and the device. Do not cover or wrap the AC power adaptor with a cloth or blanket.

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.

Copying of the commercially available music data and/or digital audio les is strictly prohibited except for your personal use. Illustration examples shown herein are for explanatory purposes only, and may not match actual appearance during operation. The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.
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.

Stereo/TRS phone plug

Mono phone plug

The Sturdy XLR

This type of connector is generally referred to as XLR-type, and almost always carries a balanced signal. If the corresponding circuitry is designed properly, however, XLR-type connectors will also handle unbalanced signals with no problem. Microphone cables usually have this type of connector, as do the inputs and outputs of most professional audio gear.

Female

1-2. Balanced, UnbalancedWhats the Difference?
In a word: noise. The whole point of balanced lines is noise rejection, and its something theyre very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation were constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. Thats why balanced lines are the best choice for long cable runs. If your studio is basically conned to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are neunless youre surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplied to an alarming degree in the mixers high-gain head amplier.

To summarize:

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

Normal-phase signal.

No signal. (Phase cancellation) Reverse-phase signal.
A balanced cable has three conductors:
1) 2) 3) A ground conductor which carries no signal, just the ground or 0 reference against which the signal in the other conductors uctuates. A hot or + conductor which carries the normal-phase audio signal. A cold or conductor which carries the reverse-phase audio signal.

While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become in-phase, and the induced noise suddenly nds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio signal is left intact. Clever, eh?
Normal-phase signal + normal-phase noise.
Desired signal with no noise. Normal-phase signal + reverse-phase noise.
1-3. Signal LevelsDecibel Dos and Donts
From the moment you start dealing with things audio, youll have to deal with the term decibel and its abbreviation, dB. Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you dont need to be an expert to make things work. Here are a few basics you should keep in mind: Consumer gear (such as home audio equipment) usually has line inputs and outputs with a nominal (average) level of 10 dB. Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB. You should always feed 10 dB inputs with a 10 dB signal. If you feed a +4 dB signal into a 10 dB input you are likely to overload the input. You should always feed +4 dB inputs with a +4 dB signal. A 10 dB signal is too small for a +4 dB input, and will result in less-than-optimum performance. Many professional and semi-professional devices have level switches on the inputs and/or outputs that let you select 10 or +4 dB. Be sure to set these switches to match the level of the connected equipment. Inputs that feature a Gain controlsuch as the mono-channel inputs on your Yamaha mixerwill accept a very wide range of input levels because the control can be used to match the inputs sensitivity to the signal. More on this later.
2. Where Your Signal Goes Once Its Inside the Box
At first glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal flows in any mixer. Heres a greatly simplified block diagram of a generic mixer to help you become familiar with the way these things work.
2-1. Greatly Simplied Mixer Block Diagram
Input Channel Master Section
Signals from the mixers other input channels (if they are assigned to this master output or bus).

Input Channel

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

Master Section

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

Example1:

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

Example2:

Funky R&B Groove The approach will be totally different if youre mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the drive or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrumentwith the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well.
Making the Most Of Your Mixer Spread them Out!
Position your instruments so they have room to breathe, and connect in the most musical way with other instruments. Sometimes, however, youll want to deliberately pan sounds close together, or even right on top of one another, to emphasize their relationship. There are no hard-and-fast rules. Normally (but this is not a rule), bass and lead vocals will be panned to center, as will the kick drum if the drums are in stereo.

5-4. Ambience

Judicious application of reverb and/or delay via the mixers AUX busses can really polish a mix, but too much can wash out the mix and reduce overall clarity. The way you set up your reverb sound can make a huge difference in the way it meshes with the mix.

Reverb/Delay Time

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

5-3. To EQ Or Not To EQ

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

Cut For a Cleaner Mix

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

Reverb Tone

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

Reverb Level

Its amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly ne. To avoid falling into this trap start with reverb level all the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a special effect. You dont want reverb to dominate the mix unless you are trying to create the effect of a band in a cavewhich is a perfectly legitimate creative goal if thats the sort of thing youre aiming for.

Boost With Caution

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

5-5. Built-in Effects

Your MG mixer features a high-performance internal effect system offers extraordinary sound-processing power and versatility without the need for external equipment. The internal DSP (Digital Signal Processor) lets you individually add reverb and delay to each channel in the same way that you can with an external effect unit but you dont need to wire up any extra gear, and wont suffer the signal quality loss that external connections sometimes entail. For details see page 20.

Channel Control Section

1 GAIN Control
Channels 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Channels 9/10 and 11/12 (Stereo)
Adjusts the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the level so that the PEAK indicator (2) comes on only at about maximum input level. The 60 to 16 scale indicates the MIC input adjustment level. The 34 to +10 scale indicates the LINE input adjustment level.

2 PEAK Indicator

Detects the peak level of the post-EQ signal, and lights up red when the level reaches 3 dB below the clipping level. For XLR-equipped stereo input channels (5/6 and 7/8), detects both post-EQ and post-mic-amp peak levels, and lights red if either of these levels reaches 3 dB below the clipping level.
Switch (High Pass Filter)
This switch toggles the HPF on or off. To turn the HPF on, press the switch in ( ). The HPF cuts frequencies below 80 Hz. (But note that regardless of the switch setting, the mixer does not apply this HPF to the line inputs of stereo input channels.)
4 Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channels high, mid, and low frequency bands. Setting the knob to the position produces a at frequency response. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band. The following table shows the EQ type, base frequency, and maximum cut/boost for each of the three bands.
Band Type Shelving Peaking Shelving Base Frequency Maximum Cut/Boost 10 kHz 2.5 kHz 100 Hz 15 dB

HIGH MID LOW

5 AUX Control
The AUX knob controls the signal level that the channel sends to the AUX bus. The knob should generally be set close to the position. If you are using stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX bus.
Allows you to output the signal to the buses regardless of the setting of the ST switch 9.

6 PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage through channel fader B) to the AUX bus, so that AUX output is not affected by the fader. If you set the switch off ( ) the mixer sends the post-fader signal to the AUX bus.

B Channel Fader

Adjusts the output level of the signal being input to the channel. Use these faders to adjust the volume balance among the various channels.
To reduce noise, set the fader sliders for unused channels all the way down.

7 EFFECT Controls

Adjusts the level of the signal sent from the channel to the EFFECT bus. Note that the signal level to the bus is also affected by the fader. If you are using stereo channels (CHs 5/6, 7/8, 9/10, or 11/12), the signals from the L (odd) and R (even) channels are mixed and then sent to the EFFECT bus.

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 ( need phantom power.

) if you do not

C 1 ST Master Fader
Adjusts the signal level to the ST OUT jacks.

2 GROUP 1-2 Fader

Adjusts the signal level to the GROUP OUT 1 and GROUP OUT 2 jacks.
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 without problem 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 (ST master fader, GROUP 1-2 fader, etc.) to minimum settings before operating the switch, to avoid risk of loud noises that could cause hearing loss or device damage.

3 TO ST Switch

If this switch is on ( ), the mixer sends the signals processed by the GROUP 1-2 fader (2) onto the Stereo bus. The Group 1 signal goes to Stereo L and the Group 2 signal goes to Stereo R.
8 Level-Meter Signal Switches (ST-GROUP
Toggle Switch and 2TR IN Switch)
These level-meter switches, together with the channel PFL switches, select the signal that is sent through the C-R/PHONES control to the C-R OUT jacks, the PHONES jack, and the level meter The following illustration shows how the switch settings correspond to the signal selection.

Switch Signal

C DIGITAL EFFECT
PROGRAM Dial Selects the internal digital effect to be applied. You can select from 16 effects, as shown in the table.

No Program Parameter

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 PHASER AUTO WAH DISTORTION
REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME REVERB TIME DELAY TIME DELAY TIME LFO FREQ LFO FREQ LFO FREQ LFO FREQ LFO FREQ DRIVE

2TR IN ST-GROUP

2TR IN OFF

ON OFF OFF

C-R OUT & PHONES

A B C D E F

*1 If the input channels PFL switch is on ( ), then only the channels PFL output it sent to the C-R OUT jacks, PHONES jacks, and level meter. *2 If the 2TR IN switch is ON ( ), the signal supplied to the 2TR IN jack is sent to the C-R OUT jacks, PHONE jacks, and level meter. If the 2TR IN switch is OFF, then the Group or Stereo signal is sent instead (as determined by the ST-GROUP toggle switch).

PARAMETER Control Adjusts the parameter (depth, speed, etc.) for the selected effect.

9 C-R/PHONES Control

Controls the level of the signal output to the PHONES jack and the C-R L and R jacks.

0 Level Meter

This LED display shows the level of the signal selected by the selection switches described in 8 above (the level to the C-R OUT and PHONES jacks). The 0 point corresponds to the standard output level. The indicator lights up red when the output hits the clipping level.
The mixer saves the last value used with each effect type. When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly selected effect (regardless of the current position of the PARAMETER Control knob). These parameter values are retained even after power-off.
AUX PRE Control Adjust the level of the signal sent from the internal digital effector to the AUX bus. ON Switch Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on. The switch lights up orange to indicate that it is on. With the (separately sold) YAMAHA FC5 foot switch connected, you can use your foot to toggle the digital effects ON and OFF.

A POWER Indicator

This indicator lights up when the mixers power is ON.

B PHONES Jack

Connector for headphones. This is a stereo phone-type output jack.
The signal monitored by these jacks is selected by the settings of the ST-GROUP toggle switch, the 2TR IN switch, and the PFL switches on the input channels.
When you turn on the power, the ON switch lights up and the internal effector becomes active.
PFL Switch Set this switch on if you wish to output the effect signal to the PFL bus. EFFECT RTN Fader Adjusts the signal level from the internal digital effector to the STEREO bus.
Rear Input/Output Section

C 1 Channel Input Jacks

These are unbalanced stereo line input jacks. Two jack types are provided: phone type (CHs 5/6 to 11/12) and RCA pin type (CHs 9/10, 11/12).

0 2TR IN Jacks

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

A FOOT SWITCH Jack

This phone input jack can connect to the (separately sold) YAMAHA FC5 foot switch. With the foot switch connected, you can use your foot to toggle the digital effects ON and OFF.
8 RETURN L (MONO), R Jacks
These are unbalanced phone-type line input jacks. The signal received by these jacks is sent to the Stereo bus and the AUX bus. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.).

B POWER Switch

Use this switch to set mixer power to ON or STANDBY.
Note that trace current continues to ow while the switch is in the STANDBY position. If you do not plan to use the mixer again for a long while, be sure to unplug the adaptor from the wall outlet.
These jacks can also be used as an auxiliary stereo input. If you connect to the L (MONO) jack only, the mixer will recognize the signal as monaural and will propagate the identical signal on both L and R jacks
C AC ADAPTOR IN Connector
Connects to the included PA-20 power adaptor (see page 5).
Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in re or electric shock.

9 REC OUT (L, R) Jacks

By connecting these jacks to an external DAT recorder or cassette recorder, you can record the same signal that is being output from the ST OUT jacks
The mixers ST Master Fader has no affect on the signal output from these jacks. Be sure to make appropriate level adjustments at the recording device side.

Connector Polarities

Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold () Tip: Hot (+) Ring: Cold () Sleeve: Ground Tip: Output Ring: Input Sleeve: Ground Tip: L Ring: R Sleeve: Ground Sleeve Tip INPUT OUTPUT

MIC INPUT, ST OUT

LINE INPUT (monaural channels), GROUP OUT, ST OUT, C-R OUT AUX, EFFECT *

INSERT I/O

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

Setup Procedure

Before connecting to microphones and instruments, be sure that all devices are turned off. Also be sure that all of the mixers channel faders and master control faders are set all the way down. For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate input jack on the mixer.
To avoid causing damage to speakers, power up the devices in the following order: Peripheral devices mixer power amps (or powered speakers).
When shutting the system down, turn off the power in the opposite order: Power amps (powered speakers) mixer peripheral devices.

Setup Examples

Home Recording
Synthesizer Effector Sound Source (CD, MD, DAT, Cassette, Video etc.)

Effector

Rhythm Machine

Guitar

Microphone

Foot Switch (YAMAHA FC5)

Powered Monitor Speakers Headphones Master Recorder (MD, CD-R, DAT, etc.) Personal Computer
Setting Up Sound Reinforcement for Live Performance
Monitor Speakers (Internal) Drums
Microphones Power Amp Effector Synthesizer Bass DI
CD, Cassette, or DAT Recorder

CD Player Effector

Power Amp Foot Switch (YAMAHA FC5) Microphones

Headphones Guitar

Main Speakers (External)
Example of Speaker Arrangement

Stage (Internal)

AUX (PRE ) Audience (External)

Rack Mounting

Mounting the MG12/4FX
Two metal rack-mount supports are screwed onto the unit. Use a screwdriver to remove these supports.
Turn the supports over, and fasten them into place again using the same screws.
Mount the unit into the rack, and fasten it into place.
Do not install the mixer near power amps or other heat-generating devices.

Specications

Electrical Characteristics
Total Harmonic Distortion (MIC to ST OUT) Frequency Response (MIC to ST OUT) Conditions (THD+N) 20 Hz-20 kHz @+14 dBu 600 ohms (CH1 to 4) with Signal input CH ST Switches are On, Signal input CH Fader, ST Master Fader at nominal level 20 Hz-20 kHz @+4 dBu 600 ohms with GAIN control at minimum level Equivalent Input Noise (CH1 to 4) Residual Output Noise (ST OUT) ST, GROUP Master Fader at nominal level and all CH Group Switches and ST Switches are off. (ST, GROUP OUT) AUX Master Control at nominal level and all CH mix controls at minimum level. (AUX SEND) ST, GROUP Master Fader and one CH Fader at nominal level. (CH1 to 4) (ST, GROUP OUT) CH MIC INPUT to CH INSERT OUT CH MIC INPUT to GROUP OUT, ST OUT (CH to ST) CH MIC INPUT to ST OUT (GROUP to ST) CH MIC INPUT to REC OUT (CH to ST) CH MIC INPUT to AUX SEND (PRE) CH MIC INPUT to AUX SEND (POST), EFFECT SEND CH LINE INPUT to GROUP OUT, ST OUT (CH to ST) ST CH MIC INPUT to GROUP OUT, ST OUT (CH to ST) ST CH LINE INPUT to GROUP OUT, ST OUT (ST CH to ST) ST CH LINE INPUT to AUX SEND (PRE) ST CH LINE INPUT to AUX SEND (POST), EFFECT SEND ST CH INPUT to GROUP OUT, ST OUT (ST CH to ST) RETURN to ST OUT RETURN to AUX SEND 2TR INPUT to ST OUT Adjacent inputs input to output variable range MIN TYP MAX 0.88 (92 dB S/N) 81 (85 dB S/N) 64 (68 dB S/N) 94 62.9 27.UNIT % dB dBu dBu dBu dBu dBu dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB

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

Maximum Voltage Gain

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

Where 0 dBu = 0.775 V

General Specications
Monaural/Stereo CH High Pass Filter Monaural/Stereo CH Equalization
Turn over /roll-off frequency of shelving, 3 dB below maximum variable level
Internal Digital Effect Phantom Power Monaural/Stereo Input PEAK Indicator
Level Meters Included Accessories Options Power Consumption Dimensions (W H D) Weight
80 Hz 12 dB/octave 15 dB (Max. Variation) HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) 16 programs, Parameter control FOOT switch (ON/OFF) Supplied when Phantom +48 V switch is ON. (XLR-type input jacks) On each channel: red indicator lights if post-EQ signal (on ST channels, if either post-EQ signal or post-mic-amp signal) comes within 3 dB of the clipping level. Two 12-points LED level meters [ST (L, R)] Peak point: red indicator +5, +3, +1, 0: yellow indicators 1, 3, 5, 7, 10, 15, 20: green indicators Power adaptor (PA-20) Footswitch (FC5) 36 W 322 mm 108 mm 416.6 mm 5 kg
Appendix Input Specications
Input Connector MIC INPUT (CHs 1 to 4) Gain k 10 k +3 k 10 k +k 600 line 600 line 50600 mic 600 line 50600 mic 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) 10 dBV (316 mV) Max. Before Clipping 40 dBu (7.75 mV) +4 dBu (1.23 V) 14 dBu (155 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) 10 dBu (245 mV) 14 dBu (155 mV) +30 dBu (24.5 V) +10 dBu (2.45 V) +20 dBu (7.75 V) +24 dBu (12.3 V) +10 dBV (3.16 V) Connector Specications XLR-3-31 type (balanced) Phone jack (TRS) (balanced [T: hot; R: cold; S: ground]) XLR-3-31 type (balanced)

Using a cell phone (mobile telephone) near this unit may induce noise. If noise occurs, use the telephone away from the unit.

Replacing abrasive parts

The performance of components with moving contacts, such switches, rotary controls, faders, and connectors, deteriorates over time. The rate of deterioration depends on the operating environment and is unavoidable. Consult your dealer about replacing defective components.
Always turn the power off when the mixer is not in use. Even when the power switch is in the STANDBY position, electricity is still owing to the mixer at the minimum level. When you are not using the mixer for a long time, make sure you unplug the AC power adaptor from the wall AC outlet.
Copying of the commercially available music data and/or digital audio les is strictly prohibited except for your personal use. Illustration examples shown herein are for explanatory purposes only, and may not match actual appearance during operation. The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.
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)
MG12-16_E.book Page 4 Monday, May 26, 2003 1:14 PM

Introduction

Thank you for your purchase of the YAMAHA MG16/4 or MG12/4 mixing console. This mixing console combines ease of operation with support for multiple usage environments, and is ideal for SR setups, installed systems, and many other such applications. Please read through this Owners Manual carefully before beginning use, so that you will be able to take full advantage of the mixers superlative features and enjoy trouble-free operation for years to come.

Features

Contents
Introduction... 4 Features... 4 Contents.. 4 Before Turning on the Mixer.. 5 Turning the Power On.. 5 Making the Most Of Your Mixer.. A Place For Everything and Everything In Its Place.. Where Your Signal Goes Once Its Inside the Box... The First Steps in Achieving Great Sound. External Effects, Monitor Mixes, and Groups.. Making Better Mixes.. 16 Front & Rear Panels.. 18 Channel Control Section. 18 Master Control Section.. 20 Rear Input/Output Section.. 22 Setting Up... 24 Setup Procedure.. 24 Setup Examples.. 24 Rack Mounting... 26 Appendix... 27 Specications.. 27 Dimensional Diagrams.. 29 Block Diagram and Level Diagram.. 30

To summarize:

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

Normal-phase signal.

No signal. (Phase cancellation)

Reverse-phase signal.

A balanced cable has three conductors:
1) A ground conductor which carries no signal, just the ground or 0 reference against which the signal in the other conductors uctuates. 2) A hot or + conductor which carries the normal-phase audio signal. 3) A cold or conductor which carries the reverse-phase audio signal. While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become inphase, and the induced noise suddenly nds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio signal is left intact. Clever, eh?
Normal-phase signal + normal-phase noise.
Desired signal with no noise. Normal-phase signal + reverse-phase noise.
MG12-16_E.book Page 9 Monday, May 26, 2003 1:14 PM
1-3. Signal LevelsDecibel Dos and Donts
From the moment you start dealing with things audio, youll have to deal with the term decibel and its abbreviation, dB. Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you dont need to be an expert to make things work. Here are a few basics you should keep in mind:
G Consumer gear (such as home audio equipment) usually has line inputs and outputs with a nomi-
nal (average) level of 10 dB.
G Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB. G You should always feed 10 dB inputs with a 10 dB signal. If you feed a +4 dB signal into a 10 dB
input you are likely to overload the input.
G You should always feed +4 dB inputs with a +4 dB signal. A 10 dB signal is too small for a +4 dB
input, and will result in less-than-optimum performance.
G Many professional and semi-professional devices have level switches on the inputs and/or outputs
that let you select 10 or +4 dB. Be sure to set these switches to match the level of the connected equipment.

G Inputs that feature a Gain controlsuch as the mono-channel inputs on your Yamaha mixerwill
accept a very wide range of input levels because the control can be used to match the inputs sensitivity to the signal. More on this later.
MG12-16_E.book Page 10 Monday, May 26, 2003 1:14 PM
Where Your Signal Goes Once Its Inside the Box
At rst glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal ows in any mixer. Heres a greatly simplied block diagram of a generic mixer to help you become familiar with the way these things work.
2-1. Greatly Simplied Mixer Block Diagram
Input Channel Master Section
Signals from the mixers other input channels (if they are assigned to this master output or bus).
I Input Channel 1 Head Amp
The very rst stage in any mixer, and usually the only stage with signicant gain or amplication. The head amp has a gain control that adjusts the mixers input sensitivity to match the level of the source. Small signals (e.g. mics) are amplied, and large signals are attenuated.
3 Channel Peak LED & Fader
The channel peak LED is your most valuable tool for setting the input gain control for optimum performance. Note that it is located after the head amp and EQ stage.
I Master Section 4 Summing Amplier
This is where the actual mixing takes place. Signals from all of the mixers input channels are summed (mixed) together here.

2 Equalizer

Could be simple bass and treble controls or a full-blown 4-band parametric EQ. When boost is applied the EQ stage also has gain. You can actually overload the input channel by applying too much EQ boost. Its usually better to cut than boost.
5 Master Fader & Level Meter
A stereo, mono, or bus master fader and the mixers main output level meter. There could be several master faders depending on the design of the mixer i.e. the number of buses or outputs it provides.

Start by setting all level controls to their minimum: master faders, group faders (if provided), channel faders, and input gain controls. Also make sure that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or bypassed.
Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding channel until the peak indicator begins to ash, then back off a little so that the peak indicator ashes only occasionally. Repeat for each active channel.
Raise your master fader(s)and group faders if availableto their nominal levels (this will be the 0 markings on the fader scale).
Now, with all sources playing, you can raise the channel faders and set up an initial rough mix.
Thats basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you dont stay in the peak zone all the time. If the output level meters are peaking constantly you will need to lower the channel faders until the overall program falls within a good range and this will depend on the dynamic range of your program material.
MG12-16_E.book Page 13 Monday, May 26, 2003 1:14 PM
External Effects, Monitor Mixes, and Groups
Pre/PostWhats the difference?
pre A pre-fader signal is taken from a point before the channel fader, so the send level is affected only by the AUX send level control and not by the channel fader. Pre-fader sends are most commonly used to provide monitor mixes. post A post-fader signal is taken from a point after the channel fader, so its level will be affected by both the AUX send level control and the channel fader. Post-fader sends are most commonly used in conjunction with the mixers AUX or effect returns for external effect processing.
4-1. AUX Buses For Monitor Sends and Overall Effects
There are a number of reasons why you might want to tap the signal owing through your mixer at some point before the main outputs: the two most common being 1) to create a monitor mix that is separate from the main mix, and 2) to process the signal via an external effect unit and then bring it back into the mix. Both of these functions, and more, can be handled by the mixers AUX (Auxiliary) buses and level controls. If the mixer has two AUX buses, then it can handle both functions at the same time. Larger mixing consoles can have 6, 8, or even more auxiliary buses to handle a variety of monitoring and processing needs. Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you need a pre-fader or postfader send. AUX sends often feature a switch that allows you to congure them for pre- or postfader operation.

Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplier and speaker system. The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No return signal is used in this case.
Channel Fader AUX Send Level

Master Fader

AUX Send Level

AUX Return Level

Post-fader send for external effects processing. The send signal is fed to the external effect unita reverb unit, for exampleand the output from the effect unit is returned to the AUX Return jack and mixed back into the main program. The send level is affected by the channel fader so the effect level always remains in proportion to the channel signal.
MG12-16_E.book Page 14 Monday, May 26, 2003 1:14 PM

4-2. Using Groups

Group buses and faders can greatly simplify the mixing processparticularly in live situations in which changes have to be made as quickly as possible. If you have a group of channels that need to be adjusted all together while maintaining their relative levels, grouping is the way to go. Simply assign the group to a group bus, and make sure that group is also assigned to the main program bus. Then you can adjust the overall level of the group using a single group fader, rather than having to attempt to control multiple channels faders simultaneously. Group buses usually also have their own outputs, so you can send the group signal to a different external destination from the main mix.
Channel faders Assigned to Group (Controlled As a Group)
A group of channels whose levels need to maintain the same relationshipa drum mix, for examplecan be assigned to a group bus. Usually the group bus signal can be output independently via Group outputs, or it can be assigned to the main program (stereo) bus to be mixed in with the main stereo program.

Group Fader

Once the mix between the channels assigned to the group is established via the channel faders, the overall level of the entire group can be conveniently adjusted via a single group fader.
Channel faders Assigned to Stereo (Controlled Individually)

Stereo Master Fader

MG12-16_E.book Page 15 Monday, May 26, 2003 1:14 PM
4-3. Channel Inserts for Channel-specic Processing
Another way to get the mixers signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually break the mixers internal signal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specic channelalthough they can be used with just about any type of in/out processor.

Faders Down

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

Example1:

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

Example2:

Funky R&B Groove The approach will be totally different if youre mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the drive or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrument with the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well.
MG12-16_E.book Page 17 Monday, May 26, 2003 1:14 PM

Spread them Out!

Position your instruments so they have room to breathe, and connect in the most musical way with other instruments. Sometimes, however, youll want to deliberately pan sounds close together, or even right on top of one another, to emphasize their relationship. There are no hardand-fast rules. Normally (but this is not a rule), bass and lead vocals will be panned to center, as will the kick drum if the drums are in stereo. One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise and potentially overloading the subsequent circuitry.

5-4. Ambience

Judicious application of reverb and/or delay via the mixers AUX busses can really polish a mix, but too much can wash out the mix and reduce overall clarity. The way you set up your reverb sound can make a huge difference in the way it meshes with the mix.

5-3. To EQ Or Not To EQ

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

Reverb/Delay Time

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

Cut For a Cleaner Mix

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

Reverb Tone

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

Band HIGH MID Type Shelving Peaking Shelving Base Frequency Maximum Cut/Boost 10 kHz 2.5 kHz 100 Hz 15 dB

5 AUX1 and AUX2 Controls

The AUX1 knob controls the signal level that the channel sends to the AUX1 bus; the AUX2 knob controls the signal level to the AUX2 bus. The knob should generally be set close to the position. If you are using stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX1 and AUX2 buses.
Allows you to output the signal to the buses regardless of the setting of the ST switch 8.
Note: Within this manual, all panel illustrations show the MG16/4 panel.
MG12-16_E.book Page 19 Monday, May 26, 2003 1:14 PM

6 PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX1 bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage though channel fader A) to the AUX1 bus, so that AUX1 output is not affected by the fader. If you set the switch off ( post-fader signal to the AUX1 bus. ) the mixer sends the
Note that this switch applies to AUX1 only. The signal to the AUX2 bus always passes through the channel fader rst.
7 PAN Control (MG16/4: CHs 1 to 8. MG12/4: 1 to 4.) PAN/BAL Control (MG16/4: 9/10 and 11/12. MG12/4: 5/6 and 7/8.) BAL Control (MG16/4: 13/14 and 15/16. MG12/4: 9/10 and 11/12.)
The PAN control determines the positioning of the channels signal on the Group 1 and 2 buses or on the Stereo L and R buses. The BAL control knob sets the balance between left and right channels. Signals into to the L input (odd channel) feed to the Group 1 bus or to the Stereo L bus; signals into the R input (even channel) feed to the Group 2 bus or the Stereo R bus.
On channels where this knob provides both PAN and BAL controls (9/10 and 11/12 on the MG16/4; 5/6 and 7/8 on the MG12/4), the knob operates as a PAN control if you are inputting through the MIC jack or into the L (MONO) input only, and operates as a BAL control if you are inputting into both L and R inputs.

ST Switch

This switch assigns the channels signal to the Stereo L and R buses. To send the signal to the Stereo bus, set the switch on by pressing it in ( ). The switch lights up orange to indicate that it is on.
9 PFL (Pre-Fader Listen) Switch
This switch lets you monitor the channels pre-fader signal. To set the switch on, press it in ( ) so that it lights up. When the switch is on, the mixer outputs the channels pre-fader signal to the PHONES and C-R OUT jacks, for monitoring.

0 GROUP Switch

Use this switch to assign the channels signal to the Group output. Press the switch in ( ) to output the signal to the Group 1 and 2 buses.

A Channel Fader

Adjusts the output level of the signal being input to the channel. Use these faders to adjust the volume balance among the various channels.

Switch Signal

PFL ON

2TR IN ST-GROUP

2TR IN OFF

ON C-R OUT & PHONES

ON OFF OFF
If the input channels PFL switch is on ( ), then only the channels PFL output it sent to the C-R OUT jacks, PHONES jacks, and level meter. If the 2TR IN switch is ON ( ), the signal supplied to the 2TR IN jack is sent to the C-R OUT jacks, PHONE jacks, and level meter. If the 2TR IN switch is OFF, then the Group or Stereo signal is sent instead (as determined by the ST-GROUP toggle switch).

9 C-R/PHONES Control

Controls the level of the signal output to the PHONES jack and the C-R L and R jacks.

0 Level Meter

This LED display shows the level of the signal selected by the selection switches described in 8 above (the level to the C-R OUT and PHONES jacks). The 0 point corresponds to the standard output level. The indicator lights up red when the output hits the clipping level.

A POWER Indicator

This indicator lights up when the mixers power is ON.

B PHONES jack

Connector for headphones. This is a stereo phone-type output jack.
The signal monitored by these jacks is selected by the settings of the ST-GROUP toggle switch, the 2TR IN switch, and the PFL switches on the input channels.
MG12-16_E.book Page 22 Monday, May 26, 2003 1:14 PM
Rear Input/Output Section

3 Channel Input jacks

These are unbalanced stereo line input jacks. Two jack types are provided: phone type (MG16/4: CHs 9/10 to 15/16; MG12/4: CHs 5/6 to 11/12) and RCA pin type (MG16/4: CHs 13/14, 15/16; MG12/4: CHs 9/10, 11/12).
Where a channel provides both a phone jack and an RCA pin jack, you may use either one of these jacks but you may not use both at the same time. Please connect to only of these jacks on each channel.

1 Channel Input jacks

MIC jacks (MG16/4: CHs 1 to 8, 9/10, 11/12. MG12/4: CHs 1 to 4, 5/6, 7/8) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). LINE jacks (MG16/4: CHs 1 to 8. MG12/4: CHs 1 to 4) These are balanced TRS phone-type line input jacks (T: Hot; R: Cold; S: Ground). You can connect either balanced or unbalanced phone plugs to these jacks.

Hum and Noise1

Maximum Voltage Gain2
Monaural/Stereo Input Gain Control Monaural/Stereo High Pass Filter Crosstalk (1 kHz) Monaural/Stereo Input Channel Equalization: Max. Variation3 Monaural/Stereo Input Peak Indicator
Level Meters Phantom +48 VDC Power (Balanced input) Included Accessory Power Supply Power Consumption Max. Dimensions (W H D) Weight Where 0 dBu = 0.775 V and 0 dBV = 1 V
Measured with 12.7 kHz, 6 dB/oct. low pass lter (equivalent to 20 kHz, lter). (CH MIC INPUT to ST, GROUP OUT/AUX, EFFECT SEND) Turning PAN/BAL to left or right. Shelving turnover/rolloff frequency: 3 dB before maximum cut or boost.
MG12-16_E.book Page 28 Monday, May 26, 2003 1:14 PM

I Input Specications

Input Connector Gain k 10 k +3 k 10 k +line 10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) 50600 mic 36 dBu (12.3 mV) 54 dBu (1.55 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) 10 dBu (245 mV) 14 dBu (155 mV) Phone jack (unbalanced) 600 line 10 dBu (245 mV) 80 dBu (0.078 mV) +10 dBu (2.45 V) 60 dBu (0.775 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) XLR-3-31 type (balanced) 50600 mic 36 dBu (12.3 mV) 54 dBu (1.55 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +4 dBu (1.23 V) 14 dBu (155 mV) Phone jack (TRS) (balanced [T: hot; R: cold; S: ground]) Input Appropriate Impedance Impedance Sensitivity* 80 dBu (0.078 mV) Rated Level 60 dBu (0.775 mV) Max. Before Clipping 40 dBu (7.75 mV) XLR-3-31 type (balanced) Connector Specications
MIC INPUT (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4)
LINE INPUT (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4)
ST CH MIC INPUT (MG16/4: CH9(L)/CH10(R), CH11(L)/CH12(R)) (MG12/4: CH5(L)/CH6(R), CH7(L)/CH8(R)) ST CH LINE INPUT (MG16/4: CH9(L)/CH10(R), CH11(L)/CH12(R)) (MG12/4: CH5(L)/CH6(R), CH7(L)/CH8(R)) ST CH INPUT (MG16/4: CH13(L)/CH14(R), CH15(L)/CH16(R)) (MG12/4: CH9(L)/CH10(R), CH11(L)/CH12(R)) CH INSERT IN (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4) RETURN (L, R) 2TR IN (L, R)

600 line

30 dBu (24.5 mV)

10 dBu (245 mV)

+10 dBu (2.45 V)
Phone jack (unbalanced); RCA pin jack
20 dBu (77.5 mV) 12 dBu (195 mV) 26 dBV (50.1 mV)
0 dBu (0.775 V) +4 dBu (1.23 V) 10 dBV (316 mV)
+20 dBu (7.75 V) +24 dBu (12.3 V) +10 dBV (3.16 V)
Phone jack (TRS) (unbalanced [T: out; R: in; S: ground]) Phone jack (TRS) (unbalanced [T: hot; S: ground]) RCA pin jack

10 k 10 k

600 line 600 line
Where 0 dBu = 0.775 V and 0 dBV= 1 V * Input sensitivity: the lowest level that will produce the nominal output level when the unit is set to maximum gain.

I Output Specications

Output Connectors Output Impedance 150 Appropriate Impedance 600 line Rated Level Max. Before Clipping Connector Specications

ST OUT (L, R)

+4 dBu (1.23 V)
XLR-3-32 type (balanced) +24 dBu (12.3 V) Phone jack (TRS) (balanced [T: hot; R: cold; S: ground]) Phone jack (TRS) +20 dBu (7.75 V) (impedance balanced [T: hot; R: cold; S: ground]) +20 dBu (7.75 V) Phone jack (TRS) R: in; S: ground]) (unbalanced [T: out;
GROUP OUT (1-2) AUX SEND (1-2) CH INSERT OUT (MG16/4: CHs 1 to 8) (MG12/4: CHs 1 to 4) REC OUT (L, R) C-R OUT (L, R) PHONES

10 k line

10 k line 10 k line 10 k line 40 phone

0 dBu (0.775 V)

10 dBV (316 mV) +10 dBV (3.16 V) RCA pin jack +4 dBu (1.23 V) 3 mW Phone jack (TRS) +20 dBu (7.75 V) (impedance balanced [T: hot; R: cold; S: ground]) 75 mW Stereo phone jack
Where 0 dBu = 0.775 V and 0 dBV= 1 V
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. For European Model Purchaser/User Information specied in EN55103-1 and EN55103-2. Inrush Current: 6A Conformed Environment: E1, E2, E3 and E4
MG12-16_E.book Page 29 Monday, May 26, 2003 1:14 PM

Dimensional Diagrams

I MG16/4

H 108 101.3

D 416.6 309.6

When mounted on rack

I MG12/4

H 108 102.6

D 416.6 325.6

317.4 480

MG12-16_E.book Page 30 Monday, May 26, 2003 1:14 PM
Block Diagram and Level Diagram

Page 31

For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de dtails sur les produits, veuillez-vous adresser Yamaha ou au distributeur le plus proche de vous gurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefhrten Niederlassung und bei Yamaha Vertragshndlern in den jeweiligen Bestimmungslndern erhltlich. Para detalles sobre productos, contacte su tienda Yamaha ms cercana o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA
Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311

BELGIUM/LUXEMBOURG

Yamaha Music Central Europe GmbH, Branch Belgium Rue de Geneve (Genevastraat) 10, 1140 - Brussels, Belgium Tel: 02-726 6032
THE PEOPLES REPUBLIC OF CHINA

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

NORWAY

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

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

OTHER EUROPEAN COUNTRIES

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

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

AFRICA

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

GERMANY

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

OCEANIA

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

MIDDLE EAST

TURKEY/CYPRUS
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

OTHER COUNTRIES

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

AUSTRIA

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

THE NETHERLANDS

Yamaha Music Central Europe, Branch Nederland Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441
Hyo4.fm Page 32 Thursday, December 11, 2003 9:07 AM
Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation 2002 Yamaha Corporation V981800 312CRCR68.2-06D0 Printed in China