MG166CX, MG124CX, MG82CX

Mixing Consoles

MG166CX

MG124CX

MG82CX
Yamahas one-knob compressor and built-in SPX effects give these mixers refined creative control.
8, 12, or 16 inputs in remarkably lightweight, portable designs. Yamahas innovative one-knob compressor lets you easily dial in the amount of compression you need. Built-in digital SPX multi-effect processor. All models feature high-quality Neutrik balanced XLR connectors on mono microphone/line channels and
XLR-equipped stereo channels.
Top-mounted input and output connectors for easy setup and re-patching. High-performance microphone preamplifiers with switchable phantom power. 3-band channel EQ and high-pass filters (sweepable midrange on the MG166CX). Smooth 60-millimeter faders & illuminated channel ON switches. The MG82CX has a single stereo bus (i.e. two mono buses), while the other models feature one or two additional
stereo group buses and outputs for convenient channel grouping. AUX sends with master send controls for convenient processing and monitoring. Return level controls for the AUX and STEREO buses. Bright meters for visual level monitoring. Optional microphone stand mount available for the MG82CX. MG166CX rack mountable.

OPTIONS

BMS10A

for MG82CX

Mic Stand Adaptor

Foot Switch

GENERAL SPECIFICATIONS
MG166CX Mic/Line inputs Line inputs Mixer input channels Group buses AUX buses Main buses Total harmonic distortion (THD+N) Frequency response Hum and noise level Crosstalk (@1kHz) Power supply adaptor Power consumption Dimensions (W x H x D) Net weight Accessories mono + 4 stereo 3 (Incl. 1x Effect send) Stereo Less than 0.1%, 20Hz-20kHz 0, +1, -3dB , 20Hz-20kHz Equivalent input noise (EIN): -128dBu Residual output noise: -98dBu -70dB PA-30 AC adaptor (AC35VCT, 1.4A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 35W 478 x 105 x 496mm (18.8" x 4.1" x 19.5") 5.5kg (12.1lbs) Owners manual, AC adaptor PA-20 AC adaptor (AC35VCT, 0.94A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 30W 346.2 x 86.1 x 436.6mm (13.6" x 3.4" x 17.2") 3.2kg (7.0lbs) PA-10 AC adaptor (AC38VCT, 0.62A) 100V, 120V, 220V, 230V or 240V; 50/60Hz 21W 256.6 x 62.2 x 302.5mm (10.1" x 2.5" x 11.9") 1.6kg (3.5lbs) Equivalent input noise (EIN): -128dBu Residual output noise: -100dBu MG124CX mono + 4 stereo 2 (Incl. 1x Effect send) Stereo MG82CX mono + 3 stereo (Effect send) Stereo
Hum and noise level are measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation.

INPUT SPECIFICATIONS

Terminal Gain Actual Load For Use With Impedance Nominal Input Level Sensitivity Nominal -80dBu -36dBu -54dBu -10dBu -80dBu -36dBu -54dBu -10dBu -30dBu -20dBu -12dBu -26dBV -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV Max. before Clip Connector

OUTPUT SPECIFICATIONS

Terminal Actual Source For Use With Impedance Nominal Output Level Nominal Max. before Clip +24dBu +20dBu +20dBu +20dBu +20dBu +10dBV +20dBu 75mW +24dBu +20dBu +20dBu +20dBu +20dBu +10dBV +20dBu 75mW +20dBu +20dBu +20dBu +10dBV +20dBu 75mW Connector
MG166CX CH IN MIC (1-8) CH IN LINE (1-8) ST CH MIC IN (9/10, 11/12) ST CH LINE IN (9/10, 11/12) ST CH IN (13/14, 15/16) CH INSERT IN (1-8) RETURN [L,R] 2TR IN [L,R] -60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB 3k 10k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines MG124CX CH IN MIC (1-4) CH IN LINE (1-4) ST CH MIC IN (5/6,7/8) ST CH LINE IN (5/6,7/8) ST CH IN (9/10,11/12) CH INSERT IN (1-4) RETURN [L,R] 2TR IN [L,R] -60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB 3k 10k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines MG82CX CH IN MIC (1, 2) CH IN LINE (1, 2) ST CH MIC IN (3/4, 5/6) ST CH LINE IN (3/4, 5/6) ST CH IN (7/8) CH INSERT IN (1, 2) RETURN [L,R] 2TR IN [L,R] -60dB -16dB -34dB +10dB -60dB -16dB -34dB +10dB 3k 10k 3k 10k 10k 10k 10k 10k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines -72dBu -28dBu -46dBu - 2dBu -72dBu -28dBu -46dBu - 2dBu -22dBu -12dBu - 8dBu -22dBV -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV -40dBu +4dBu -14dBu +30dBu -40dBu -6dBu -14dBu +30dBu +10dBu XLR-3-31 type* TRS Phone jack* XLR-3-31 type* Phone jack** Phone jack** RCA pin jack** -80dBu -36dBu -54dBu -10dBu -80dBu -36dBu -54dBu -10dBu -30dBu -20dBu -12dBu -26dBV -60dBu -16dBu -34dBu +10dBu -60dBu -16dBu -34dBu +10dBu -10dBu 0dBu +4dBu -10dBV -40dBu XLR-3-31 type* +4dBu -14dBu TRS Phone jack* +30dBu -40dBu XLR-3-31 type* -6dBu -14dBu Phone jack** +30dBu +10dBu Phone jack** RCA pin jack** -40dBu XLR-3-31 type* +4dBu -14dBu TRS Phone jack* +30dBu -40dBu XLR-3-31 type* -6dBu -14dBu Phone jack** +30dBu +10dBu Phone jack** RCA pin jack** STEREO OUT [L,R] GROUP OUT [1-4] AUX SEND (1, 2) EFFECT SEND CH INSERT OUT (1-8) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT STEREO OUT [L, R] GROUP OUT [1, 2] AUX SEND EFFECT SEND CH INSERT OUT (1-4) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT STEREO OUT [L,R] EFFECT SEND CH INSERT OUT (1-2) REC OUT [L, R] MONITOR OUT [L, R] PHONES OUT *** : Impedance balanced

MG166CX 600 Lines +4dBu 10k Lines +4dBu 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines +4dBu +4dBu 0dBu -10dBV +4dBu 3mW
XLR 3-32 type* TRS Phone jack*
TRS Phone jack*** TRS Phone jack*** TRS Phone jack*** TRS Phone jack** RCA pin jack** TRS Phone jack* Stereo phone jack**
+20dBu TRS Phone jack** +24dBu Phone jack** +10dBV RCA pin jack**
MG124CX 600 Lines +4dBu 10k Lines +4dBu 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines MG82CX 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40k Lines +4dBu +4dBu 0dBu -10dBV +4dBu 3mW +4dBu +4dBu 0dBu -10dBV +4dBu 3mW
TRS Phone jack*** TRS Phone jack*** TRS Phone jack*** Phone jack** RCA pin jack** TRS Phone jack*** Stereo phone jack** TRS Phone jack*** TRS Phone jack*** TRS Phone jack** RCA pin jack** Phone jack*** Stereo phone jack**

DIMENSIONS

unit : mm
496 436.105 346.2 86.1 256.6

62.2 302.5

MG166C, MG166CX, MG206C, MG166C-USB, MG166CX-USB, MG206C-USB

MG124C, MG124CX

MG102C, MG82CX
Sensitivity is the lowest level that will produce the nominal output level when the unit is set to maximum level.

For Live Recording

1-knob Compressor
For details please contact:

www.yamahaproaudio.com

Printed in Japan

LPA538E

SPX multi effect

(16 programs)

MG SERIES

INTRODUCTION

The Genesis of the New MG Mixers
Mechanical Engineering Group

Hisashi Nagai

Mechanical Engineering Group Manager
Kazuhiko "KAZU" Nishizawa
Product Design Laboratory Design a-Products Group Manager
Hardware Group Engineering Manager
MP Produce Group Engineering Manager
MP Sales & Marketing Group Super viser

Nobumasa Tanaka

Tatsuya Nonaka

Takahiro Tashiro

Ikuo"IGGY" Tanaka
Were using Neutrik connectors in the new models, and have completely redesigned the faders as well. We used CT scans for non-destructive structural analysis, and as a result have even employed a new type of grease for super-smooth operation.
New Environmentally Safe Finish
Mr. Tashiro: It looks as though the new models had a different type of finish. Mr. Nishizawa: Thats right. This time we used a powder finish that significantly cuts VOC usage. Mr. Tashiro: VOC stands for Volatile Organic Compounds, right? Come to think of it, weve always tried to be easy on the environment. Of course weve cleared the very strict new European standards. Mr. Nishizawa: The special metallic blue finish used on the new MG models was developed in cooperation with specialist powder finish manufacturer. This powder finish is extremely durable compared to standard liquid finishes. It will last for a long time. Whereas with liquid coating equipment about 70 percent of the material evaporates into the air as volatile organic compounds, powder coating equipment produces essentially no VOC pollution. The panel of a mixer is subject to constant handling, and the extra durability of the power coating prevents wear and damage from sweat, cosmetics, and a range of other common causes of damage.

Control Layout and Feel

Mr. Tashiro: We also redesigned the knobs, and significantly improved readability and feel. Mr. Tanaka: Right. The powder finish made it necessary to increase the size of the lettering, which resulted in better readability. Mr. Nishizawa: The meters are brighter, too. We used high-output LEDs that are easy to read even outdoors on a bright day. There are no other mixers in this class that offer separate multi-colored meters for different functions. Mr. Tanaka (Iggy): Yes, I remember everyone crowding around one of the new mixers to check out the meters in a bright section of the corridor.
Mr. Tashiro: In many cases other manufacturers claim heavy duty or high-reliability as an excuse for the fact that they went with manufacture-friendly heavy-gauge steel and readily available oversized parts. But here at Yamaha we have access to the latest analysis tools that allow us to achieve superior strength in more refined designs, as well as source smaller parts of higher quality from all over the world. The trend towards smaller and lighter products is obvious in the latest computers and personal music players. This points to a fundamental growth in technology that reflects the needs of the market, and does not require any compromises in sound quality. Our small, lightweight mixers deliver the same sonic quality as our professional PM-series consoles. People want utility mixers to be small and light while sounding great, and thats just what the MG mixers provide. Mr. Tanaka (Iggy): So these are products that strike a perfect balance between cost and performance. Theres absolutely nothing cheap about them in any way. By the way, what kind of durability testing do the mixers undergo? Mr. Nagai: We begin with number crunching on the computers, comparing different metals and manufacturing methods, and end up with the inevitable durability testing of the actual product. There are many tests we employ, but the main process involves an impact test, a secondary transportation test, a drop test (we drop the packaged product from a height of 74 centimeters), a vibration test, and finally another impact test. The current one-piece rackmount chassis design has passed all of these tests, and patents are pending.

We got the heads of the new MG mixer design, product planning, and marketing divisions together to hear what they had to say about the genesis of this remarkable series.

The Yamaha Advantage

Mr. Tashiro: For us the new MG series had to be more than just new. It had to deliver meaningful features and performance that actually meet or exceed the customers needs and, as always, that turned out to be a difficult process. Mr. Tanaka (Iggy): We started by researching the ways that the previous models were being used throughout the world, and ended up with 10 models that comprehensively satisfied the real-world use requirements. Mr. Nonaka: This applies to all of our products, but the size of the Yamaha organization contributes to high product quality in a number of ways. Theres the direct legacy from the PM series analog mixers, as well as technology developed for our digital products ranging from synthesizers to digital mixing consoles. And theres a healthy atmosphere of competition in each department that contributes to continued technological growth. This is all part of our strength as a general soundrelated manufacturer. Mr. Tashiro: We maintain the same quality standards from PMseries consoles costing tens or even hundreds of thousands of dollars right down to mixers like the MG series models that cost only a few hundred dollars. Theyre all made at the same factory. We built one of the largest and most advanced electromagnetic emission testing facilities in the industry in the same area as the design department, and that has resulted in a huge improvement in our quality control capabilities. and thats a tough challenge for models that will sell for just a few hundred dollars. The pressure is on us, designers and hardware engineers. But unless we can overcome the quality issues without compromise, the product cannot be released. Mr. Nishizawa: For example, some manufacturers promote the fact that they use a high-quality microphone preamp, but then they use cheap circuitry in the following stages that negates any sonic benefits the preamp might offer. In the MG series weve made sure that parts and circuitry are optimally selected and matched throughout. Just the fact that a design uses high-quality parts doesnt guarantee that the overall performance will be correspondingly high. An appropriate balance must be found through trial and error and actual listening tests. Mr. Tanaka (Iggy): Another advantage of being a world-wide organization is that parts can be sourced from the many branches we maintain in various locations around the world, plus the fact that we have access to parts acquired for other products such as electronic musical instruments. This means that for the same cost Yamaha can use parts that are a rank above those available to other manufacturers. Mr. Nishizawa: Thats very true. Our motto is to make affordable products, but never cheap products. And since we have access to such high-quality parts we are able to maintain the same level of quality that the pros expect in our most expensive console in affordable mixers like the new MG models.

Weight, Strength and Durability Design
Mr. Tanaka: At that point there were continuous product design requests. Every time a strength issue was found, the design had to be revised. It was a very tiring period. I remember re-drawing the rack ear screw contact area many, many times. Mr. Tashiro: I seem to remember people running up and down the corridors quite frequently at that particular time. Mr. Tanaka: We ended up with four, and added reinforcement at that point that resulted in a sleek look while making the unit easy to carry. The latest analysis tools have enabled us to see that although it provides more contact area with the rack, the normal straight configuration is actually weaker in several ways. The rack-mount models having 16 or more channels were particularly challenging, and we were delighted when all the elements finally fell into place and we had a good-looking design that was also easy to carry. Mr. Tashiro: This is just about the right weight for hand carrying. Mr. Tanaka (Iggy): Thats a very important point in a utility mixer. Mr. Nagai: Its easy to achieve sufficient strength if you use steel or other heavy metals, but since the MG mixers were intended for utility use, we had to consider the portability and handling aspects. Whats more, if you give priority to rack mounting in the rack-mountable models that have 16 or more channels, you end up with strength problems. But if you add reinforcing ribs youre faced with manufacturing problems. So we went back to the design and repeated structural analysis until we had a body with the ideal combination of design and strength.

Parts Selection

Mr. Nonaka: Every operational amplifier, transistor, and capacitor we use is chosen for high sound quality and reliability. In analog mixers like the MG series, were able to take advantage of the expertise weve acquired through many years as leaders in the field, while applying the most advanced circuit design tools available today. While other manufacturers use outsourced, general purpose DSP chips, we develop our own DSP chip the most suitable for our needs. That translates into unbeatable cost versus performance. Mr. Tashiro: Im sure that there are always difficulties, but what were some of the obstacles encountered in creating the new MG series? Mr. Nonaka: As always, achieving the required standard of quality was the main issue. We use the same quality testing standards that apply to consoles costing tens of thousands of dollars,
Although each member of the MG design team clearly has individual goals within the project, the team is thoroughly united in terms of motivation and Yamaha Vision. The confidence they convey is a good indication that the new MG-series mixers offer something special to users who are serious about sound and quality.

FEATURES

An Impressive Lineup with a Common ThemeUnmatched Quality and Performance
Whether you have a mixing applications that involves only a few channels, or up to 32 inputs with substantial signal routing versatility, Yamahas MG-series offers a console that will give you the capacity, control, and performance you deserve. All models are remarkably compact and lightweight for superior handling and portability, but absolutely no compromises have been made in terms of features, performance, or durability. The MG mixers offer an extraordinary blend of technology: some inherited from professional Yamaha mixing consoles youre likely to see in distinguished halls throughout the world, and some developed specifically to deliver optimum performance in the MG-console format. In either case these performance-packed mixers are founded on a world-spanning network of human and technological resources that crystallize to deliver features that really matter, and sound that is undeniably superior.

Aux/Effect Sends

All models except the MG82CX have from one to three AUX sends for convenient to processing and monitor systems. Master send controls are also provided, as are RETURN level controls for the AUX and STEREO busses. CX models have EFFECT send controls on all channels that adjust the level of the signal sent from the corresponding channel to the mixers internal multi-effect system. The same signal can also be sent to external effect processors via the mixers EFFECT SEND jack.
Smooth 60-millimeter Faders & Illuminated Channel ON Switches
While the MG82CX and MG102C feature rotary faders, channel and master level control on all other models is accomplished via reliable, highperformance 60-millimeter linear faders that provide smooth, noise-free operation. When you have more than a few channels the direct visual indication of relative level settings can be an important advantage. Models with linear faders also feature illuminated channel ON switches that can be used to individually add or remove channels from the mix without having to change the positions of the channel faders.
Bright Meters for Visual Level Monitoring
Accurate visual level monitoring can help you achieve maximum signal-tonoise ratio without distortion. The MG mixers bright, easy-to-read multisegment LED meters make it easy to control system levels for optimum overall performance.
Lightweight, Portable Designs

Easy Operation

All switches, controls, and displays have been designed and laid out for intuitive access and smooth, reliable operation with positive tactile and visual feedback.
Built-in Digital Effects (CX Models)
Theres an astonishing amount of signal processing power packed into the compact chassis of the MG CX mixers. They incorporate a versatile digital multi-effect processor that provides a range of reverb, delay, modulation, and distortion programs you can use to refine and define your sound. Each of the 16 effect programs has a number of editable parameters as well as effect on/off switching capability and return level control. You can even blend the effects into the aux sends for wet monitoring, so the performers can hear the effects too. 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.
P.T. Yamaha Music manufacturing Asia
Manufacturing the electronic instruments and PA products
Versatile Connectivity and Pro-class Connectors
Top-mounted input and output connectors make setting up and re-patching your system quick and easy. All models feature high-quality Neutrik balanced XLR connectors on mono microphone/line channels and XLR-equipped stereo channels. These professional-class connectors were subjected to extensive testing by the Yamaha design team, and were chosen for the MG mixers for their superior reliability and sonic qualities. The XLR-equipped stereo channels can accept mono microphone input either via the XLR or phone jack connectors. The remaining stereo channels provide phone jack and pin jack connectors for compatibility with a wide range of sources. Mono input channels also feature insert I/O connectors that let you patch external signal processing gear into those channels as required. Separate pinjack 2TR inputs are provided to accept the output from a CD player or similar stereo source.
From the initial design to final manufacturing, all production processes for the Yamaha MG series mixing console are performed entirely inside the company. Moreover, every product that comes off our production line must pass strict quality controls using the sophisticated test instruments. Thus, all of this enables us to deliver the highest quality products to you.

High-performance Microphone Preamplifiers with Switchable Phantom Power
Microphone preamplifiers are critical in any mixer, and a performance bottleneck in many. Thats why pros often spend thousands of dollars on just a single channel of microphone pre-amplification. The microphone preamps built into the MG mixers inherit technology from Yamahas top-line professional consoles, and have been painstakingly designed to deliver superior sonic performance with any dynamic or condenser microphone. Gain trim covers a wide 60dB ~ -16dB range for microphones (-34dB ~ +10dB for line input), so youll be able to achieve optimum level matching with just about any source. All microphone preamps also feature switchable phantom power so you can take advantage of the natural, extended response of high-quality condenser microphones.
LINE UP (MG102C, MG124C, MG166C, MG206C)
C models with improved utility
Extraordinary sonic quality plus channel compressors in a small-but-powerful utility mixer.
Stunning MG-series sound plus and extra margin of input and signal-routing capacity.
A six-bus format offers extra options for monitoring and live recording.
Extended capacity, versatility and control for stage with sixteen microphone inputs.
10 Input channels 4 Mics + 4 Stereo line inputs 2 Insert I/O Phantom power switch (+ 48V) 3 band EQ (Ch 1-5/6) 2 band EQ (Ch 7/8-9/10) 3 busses (Stereo + Aux) 1 Aux send 1 Stereo Aux return Neutrik Neutrik XLR Connectors
Input gain trim High Quality mic preamp HPF 2 Compressors Monitor mix Light weight (1.5 kg) 7-seg LED level meter
12 Input channels 6 Mics + 4 Stereo line inputs 4 Insert I/O Phantom power switch (+ 48V) 3 band EQ (Ch 1-7/8) 2 band EQ (Ch 9/10-11/12) 4 busses (Stereo + 2 groups) 2 Aux sends 1 Stereo Aux return Neutrik Neutrik XLR Connectors
Input gain trim High Quality mic preamp HPF 4 Compressors Illuminated CH ON switches 60 mm Super smooth fader Monitor mix Light weight (3.0 kg) 12-seg LED level meter
16 Input channels 10 Mics + 4 Stereo line inputs 8 Insert I/O Phantom power switch (+ 48V) 3 band Mid-sweep EQ (Ch 1-8) 3 band EQ (Ch 9/10-15/16) 6 busses (Stereo + 4 groups) 3 Aux sends 1 Stereo Aux return Neutrik Neutrik XLR Connectors

Input gain trim High Quality mic preamp HPF 6 Compressors Illuminated CH ON switches 60 mm Super smooth fader Monitor mix Light weight (5.3 kg) 12-seg LED level meter Rack Mountable
20 Input channels 16 Mics + 4 Stereo line inputs 12 Insert I/O Phantom power switch (+ 48V) 3 band Mid-sweep EQ (Ch 1-12) 3 band EQ (Ch 13/14-19/20) 6 busses (Stereo + 4 groups) 4 Aux sends 2 Stereo Aux return Neutrik Neutrik XLR Connectors
Input gain trim High Quality mic preamp HPF 8 Compressors Illuminated CH ON switches 60 mm Super smooth fader Monitor mix Light weight (6.0 kg) 12-seg LED level meter Rack Mountable
LINE UP (MG82CX, MG124CX, MG166CX)
CX models with SPX digital multi effect
Extraordinary sonic quality plus digital effects in a small-but-powerful utility mixer.
A versatile all-in-one console that can handle up to 12 inputs with internal effects.
16 channels, 6 buses, and all the outstanding digital effects you'll need built in.
8 Input channels 4 Mics + 3 Stereo line inputs 2 Insert I/O Phantom power switch (+ 48V) 3 band EQ (Ch 1-5/6) 2 band EQ (Ch 7/8) 3 busses (Stereo + Effect) 1 Effect send 1 Stereo Aux return Neutrik Neutrik XLR Connectors Input gain trim
High Quality mic preamp HPF 2 Compressors SPX Digital multi effect Monitor mix Light weight (1.6 kg) 7-seg LED level meter
12 Input channels 6 Mics + 4 Stereo line inputs 4 Insert I/O Phantom power switch (+ 48V) 3 band EQ (Ch 1-7/8) 2 band EQ (Ch 9/10-11/12) 4 busses (Stereo + 2 groups) 1 Aux send + 1 Effect send 1 Stereo Aux return Neutrik Neutrik XLR Connectors Input gain trim
High Quality mic preamp HPF 4 Compressors Illuminated CH ON switches 60 mm Super smooth fader SPX Digital multi effect Monitor mix Light weight (3.2 kg) 12-seg LED level meter
16 Input channels 10 Mics + 4 Stereo line inputs 8 Insert I/O Phantom power switch (+ 48V) 3 band Mid-sweep EQ (Ch 1-8) 3 band EQ (Ch 9/10-15/16) 6 busses (Stereo + 4 groups) 2 Aux sends + 1 Effect send 1 Stereo Aux return Neutrik Neutrik XLR Connectors Input gain trim
High Quality mic preamp HPF 6 Compressors Illuminated CH ON switches 60 mm Super smooth fader SPX Digital multi effect Monitor mix Light weight (5.5 kg) 12-seg LED level meter Rack Mountable

MONO Input Chanel

STEREO Line Input Chanel

SPX Effect Section

Master Section
LINE UP (MG166C-USB, MG166CX-USB, MG206C-USB) CUBASE AI4 POSITIONING CHART APPLICATION
USB models for live recording
Cubase AI4 harnesses the power of the Steinberg Cubase 4 digital audio workstation for use with Yamaha MG USB mixers, providing a powerful set of advanced software tools that are easy to use while significantly expanding the mixers' recording and production capabilities. Cubase AI4 offers direct digital connectivity to the stereo buses of MG USB models for audio recording and editing. It also features a range of MIDI sequencing capabilities, an entire suite of VST effect plug-ins, and a HALion One sample player featuring selected waves from the famed Yamaha Motif synthesizers.

LINE UP (MG24/14FX, MG32/14FX)
Serious Capacity for Live Sound & Installations
If your application is live sound reinforcement youll want all the channel capacity you can getjust in case. With 24 and 32 input channels, respectively, the MG24/14FX and MG32/14FX are ready to handle all but the most ambitious sound-reinforcement setups. And with dual SPX digital effect systems on-board you wont need racks of outboard gear to get the sound you need. Theres also a comprehensive range of group and auxiliary busses to make even complex mixes easy.
A Variety of Input Connectors Plus Insert I/O
Balanced XLR and phone-jack connectors are provided on all mono inputs (channels 1 ~ 16 on the MG24/14FX, and channels 1 ~ 24 on the MG32/14FX). The remaining eight channels on both mixers are configured as four stereo channels, two of which feature both pin-jack and phone jack connectors. A separate stereo 2TR input with pin-jack connectors is provided for independent input of signals from CD players or similar sources. All mono input channels feature insert I/O patch points so you can insert compressors, EQ, or other extra signal-processing gear into the channel signal path as required. Insert patch points are also provided on the stereo and group buses for effective output processing.

Dual SPX Digital Effects

In the MG24/14FX and MG32/14FX you have not one, but two high- performance digital signal processing stages, fed by separate effect buses, so you can enhance your mix with two separate effects at the same time. And the effects are provided by the very latest Yamaha DSP technologyyou know youre getting the best. Each stage provides a selection of 16 professional- quality SPX digital effects, including reverb, delay, pitch change, chorus, phasing, vocal doubling, distortion, and more. Parameter controls that can be adjusted to tailor the effects to your sonic requirement are also provided and Tap delay makes it easy to produce tempo- synchronized delays.
Six Aux Sends & Two Stereo Aux Returns
All input channels feature six AUX send controls.AUX sends 1 through 4 are pre/post switchable while AUX 5 and 6 are post-fader sends.Two effect sends are also provided. You choose you have plenty of flexibility for external signal processing and monitoring in live sound-reinforcement applications.Two stereo auxiliary returns are included, as well as return facilities for the internal effect stages.

STEREO Input Chanel

24 Input channels (MG24/14FX) 32 Input channels (MG32/14FX) 16 Mic inputs (MG24/14FX) 24 Mic inputs (MG32/14FX) 4 Stereo line inputs 16 Insert I/O (MG24/14FX) 24 Insert I/O (MG32/14FX) Stereo insert 4 Group insert Phantom power switch (+ 48V) 3 band Mid-sweep EQ 14 busses 6 Aux sends + 2 Effect sends

MG124C

MG166C

MG206C

MG82CX

MG124CX

MG166CX

MG166C-USB

MG166CX-USB

MG206C-USB

MG24/14FX

MG32/14FX

Less than 0.1 % (THD+N) 20 Hz 20 kHz @ +14 dBu (ST OUT) 0, +1, -3 dB 20 Hz 20 kHz @ +4 dBu (ST OUT) -128 dBu Equivalent Input Noise/ -100 dBu Residual Output Noise 20 Hz 20 kHz, Rs = 150 , Input Gain = Maximum MIC: 4, LINE: 2 mono + 4 stereo, CH INSERT: 2, RETURN: 1 stereo, 2TR IN: 1stereo -128 dBu Equivalent Input Noise/ -100 dBu Residual Output Noise 20 Hz 20 kHz, Rs = 150 , Input Gain = Maximum MIC: 4, LINE: 2 mono + 4 stereo, CH INSERT: 2, RETURN: 1 stereo, 2TR IN: 1stereo MIC: 6, LINE: 4 mono + 4 stereo, CH INSERT: 4, AUX RTN: 1 stereo, 2TR IN: 1 ST: 2, AUX SEND: 1, EFFECT SEND: 1, CH INSERT: 4, REC: 1 stereo, MONITOR: 1 stereo, GROUP: 2 Phone: 1 -70 dB @ 1 kHz + 48 V CH 1-2 and CH 3/4-5/6, 80Hz, 12dB/oct High 10 k Hz: shelving 2.5 k Hz: peaking 100 Hz: shelving 10 k Hz: shelving 100 Hz: shelving control x 1 (Gain/Threshold/Ratio), CH 1,x 7 points LED meter (PEAK, +6, +3, 0, -5, -10, -20 dB) PEAK lights if the signal comes within 3 dB of the clipping level. control x 1 (Gain/Threshold/Ratio), CH 1-4 CH 1-4, CH 5/6-7/8, 80Hz, 12dB/oct CH 1-8, CH 9/10-11/12, 80Hz, 12dB/oct CH 1-12, CH 13/14-19/20, 80Hz, 12dB/oct 10 k Hz: shelving 2.5 k Hz: peaking 100 Hz: shelving 10 k Hz: shelving 2.5 k Hz: peaking 100 Hz: shelving control x 1 (Gain/Threshold/Ratio), CH 1-6 control x 1 (Gain/Threshold/Ratio), CH 1-8 CH 1-2 and CH 3/4-5/6, 80Hz, 12dB/oct 10 k Hz: shelving 2.5 k Hz: peaking 100 Hz: shelving 10 k Hz: shelving 100 Hz: shelving control x 1 (Gain/Threshold/Ratio), CH 1,PROGRAM, PARAMETER control Foot Switch (Digital Effect, on/off) 2 x 7 points LED meter (PEAK, +6, +3, 0, -5, -10, -20 dB) PEAK lights if the signal comes within 3 dB of the clipping level. Red LED turns on when post EQ (ST CH: or post Mic HA) signal reaches -3dB below clipping (17dBu). control x 1 (Gain/Threshold/Ratio), CH 1-PROGRAM, PARAMETER control Foot Switch (Digital Effect, on/off) control x 1 (Gain/Threshold/Ratio), CH 1-PROGRAM, PARAMETER control Foot Switch (Digital Effect, on/off) CH 1-4, CH 5/6-7/8, 80Hz, 12dB/oct CH 1-8, CH 9/10-11/12, 80Hz, 12dB/oct CH 1-8, CH 9/10-11/12, 80Hz, 12dB/oct 10 k Hz: shelving 2.5 k Hz: peaking 100 Hz: shelving 10 k Hz: shelving 2.5 k Hz: peaking 100 Hz: shelving control x 1 (Gain/Threshold/Ratio), CH 1-6 control x 1 (Gain/Threshold/Ratio), CH 1-PROGRAM, PARAMETER control Foot Switch (Digital Effect, on/off) control x 1 (Gain/Threshold/Ratio), CH 1-8 CH 1-8, CH 9/10-11/12, 80Hz, 12dB/oct CH 1-12, CH 13/14-19/20, 80Hz, 12dB/oct

Less than 0.1 % (THD+N) 20 Hz 20 kHz @ +14 dBu (ST OUT) 0, +1, -3 dB 20 Hz 20 kHz @ +4 dBu (ST OUT) -128 dBu Equivalent Input Noise/-99 dBu Residual Output Noise 20 Hz 20 kHz, Rs = 150 , Input Gain = Maximum, Input Pad = OFF, Input sensitivity = -60 dB -70dB @ 1kHz Mic 16 + 1 (Input A 1-16, Talk Back: XLR) 24 + 1 (Input A 1-24, Talk Back: XLR) 16 (Input B 1-16: TRS: Phone) 2 (Ch 17-18, 19-20: TRS) *(Input B 1-24: TRS: Phone) 2 (Ch 25-26, 27-28: TRS) *2 Ch25, 27: L (MONO) 2 (Ch 29-0, 31-32: TRS: Phone/RCA: Pin) 24 (Ch 1-24: TRS: Phone T: Out, R: In, S: Gnd)

Frequency Response

Input Hum & Noise *1 -128 dBu Equivalent Input Noise/ -98 dBu Residual Output Noise 20 Hz 20 kHz, Rs = 150 , Input Gain = Maximum Crosstalk

Hum & Noise *1

-128 dBu Equivalent Input Noise/ -98 dBu Residual Output Noise 20 Hz 20 kHz, Rs = 150 , Input Gain = Maximum

INPUT Connectors

MIC: 6, LINE: 4 mono + 4 stereo, CH INSERT: 4, AUX RTN: 1 stereo, 2TR IN: 1 ST: 2, AUX SEND: 2, CH INSERT: 4, REC: 1 stereo, MONITOR: 1 stereo, GROUP: 2 Phone: 1
MIC: 10, LINE: 8 mono + 4 stereo, CH INSERT: 8, AUX RTN: 1 stereo, 2TR IN: 1 ST: 2, AUX SEND: 3, CH INSERT: 8, REC: 1 stereo, MONITOR: 1 stereo, GROUP: 4 Phone: 1
MIC: 16, LINE: 12 mono + 4 stereo, CH INSERT: 12, AUX RTN: 2 stereo, 2TR IN: 1 ST: 2, AUX SEND: 4, CH INSERT: 12, REC: 1 stereo, MONITOR: 1 stereo, GROUP: 4 Phone: 1
MIC: 10, LINE: 8 mono + 4 stereo, CH INSERT: 8, AUX RTN: 1 stereo, 2TR IN: 1 ST: 2, AUX SEND: 2, EFFECT SEND: 1, CH INSERT: 8, REC: 1 stereo, MONITOR: 1 stereo, GROUP: 4 Phone: 1

CH Input

Stereo
Ch17, 19: L (MONO) 2 (Ch 21-22, 23-24: TRS: Phone/RCA: Pin) 16 (Ch 1-16: TRS: Phone T: Out, R: In, S: Gnd)

OUTPUT Connectors

ST: 1, AUX SEND: 1, CH INSERT: 2, REC: 1 stereo, MONITOR: 1 stereo, Phone: 1
ST: 1, EFFECT SEND: 1, CH INSERT: 2, REC: 1 stereo, MONITOR: 1 stereo, Phone: 1
Insert I/O Send AUX Return EFFECT 2TR STEREO GROUP REC ST MONO ST SUB GROUP Phones Phantom Power CH & ST Ch Input Gain Control CH & ST High Pass Filter High CH EQ (MONO) *dB (Max.) Mid Low High CH EQ (STEREO) *3 Hi-Mid Low-Mid Low MONO Out Low Pass Filter Internal Digital Effect Dimensions (W x H x D) Weight Send In Insert nsert Out Out Out Out Out
6 (1-2/Post-Pre selectable, 3-4/Post-Pre selectable, 5-6/Post: TRS: Phone) 2 Stereo Sub In (L/MONO, R: TRS: Phone) 2 (1, 2: TRS: Phone) 1 Stereo (L, R: RCA: Pin) 1 Stereo (L, R: TRS: Phone) 4 (1-4: TRS: Phone) 1 Stereo (L, R: RCA: Pin) 1 Stereo (L, R: XLR) 1 (XLR) 1 Stereo (L, R: TRS: Phone) 4 (1-4: TRS: Phone) 1 (TRS: Phone Stereo) + 48 V 44 dB valiable 80 Hz 12 dB/Octave 10 kHz (Shelving) 0.kHz (Peaking) 100 Hz (Shelving) 10 kHz (Shelving) 3 kHz (Peaking) 800 Hz (Peaking) 100 Hz (Shelving) Hz 12dB/octave SPX x 2 (Effect 1: 16 Programs, Effect 2: 16 Programs : Parameter Control) 819 mm x 140 mm x 551 mm 18.5 kg 100 W 120 V/60 Hz 100 W 220 V/50 Hz 100 W 230 V/50 Hz 1027 mm x 140 mm x 551 mm 22 kg 120 W 120 V/60 Hz 120 W 220 V/50 Hz 120 W 230 V/50 Hz

Crosstalk *2 Phantom Power Input HPF

CH EQ (MONO) *dB (Max.)

Mid Low High
CH EQ (STEREO) *dB (Max.)

Mid Low

Compressor (COMP)

Internal Digital Effect

LED Level Meter Pre MONITOR Level
2 x 12 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 Indicator USB Audio USB IN/OUT PA-10: AC 38VCT, 0.62A, Cable Length = 3.6m 21 W 256.6 mm x 62.2 mm x 302.5 mm 1.5 kg Microphone Stand Adaptor (BMS-10A) PA-20: AC 35VCT, 0.94A, Cable Length = 3.6m 30 W 346.2 mm x 86.1 mm x 436.6 mm 3 kg PA-30: AC 35VCT, 1.4A, Cable Length = 3.6m 30 W 478 mm x 105 mm x 496 mm 5.3 kg PA-30: AC 35VCT, 1.4A, Cable Length = 3.6m 40 W 478 mm x 105 mm x 496 mm 6.0 kg
15 dB (Max.) PA-30: AC 35VCT, 1.4A, Cable Length = 3.6m 35 W 478 mm x 105 mm x 496 mm 5.5 kg Foot Switch (FC-5) Sampling Frequency = 44.1kHz or 48kHz (depend on the application of PC) PA-30: AC 35VCT, 1.4A, Cable Length = 3.6m 30 W 478 mm x 105 mm x 496 mm 5.3 kg PA-30: AC 35VCT, 1.4A, Cable Length = 3.6m 35 W 478 mm x 105 mm x 496 mm 5.5 kg Foot Switch (FC-5) PA-30: AC 35VCT, 1.4A, Cable Length = 3.6m 40 W 478 mm x 105 mm x 496 mm 6.0 kg Power Requirements
PA-10: AC 38VCT, 0.62A, Cable Length = 3.6m 21 W 256.6 mm x 62.2 mm x 302.5 mm 1.6 kg Microphone Stand Adaptor (BMS-10A), Foot Switch (FC-5)
PA-20: AC 35VCT, 0.94A, Cable Length = 3.6m 30 W 346.2 mm x 86.1 mm x 436.6 mm 3.2 kg Foot Switch (FC-5)
Power Supply Adapter Power Consumption Dimensions (W x H x D) Net Weight Options
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation. *2 STEREO L/R, CH 1-2, PAN panned Hard left or right @1kHz. *3 Turn over /roll-off frequency of shelving : 3 dB below maximum variable level.
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation. *2 Phone Jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND) *3 Turn over /roll-off frequency of shelving : 3 dB below maximum variable level.
Specifications and appearance suject to change without notice. All trademarks and registered trademarks are property of their respective owners.
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)
10 k 3k 10 k 10 k 10 k 10 k 10 k
600 Line 50600 Mics 600 Lines 600 Lines 600 Lines 600 Lines 600 Lines
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

CH INPUT MIC [A,B] *14

60 dB 3k 16 dB 34 dB +10 dB 10 k 10 k 10 k 10 k 10 k 10 k
50600 Mics 600 Lines 600 Line 600 Lines 600 Lines 600 Lines 50600 Mics 600 Lines
A: XLR-3-31 type *3 B: Phone Jack (TRS) *17 Phone Jack (TRS) *14 *15 *16 RCA Pin Jack *16 Phone Jack (TRS) *4 Phone Jack (TRS) *8 XLR-3-31 type *18 RCA Pin Jack
ST CH INPUT *15 *16 CH INSERT IN *14 GROUP INSERT IN (1-4) SUB IN (1, 2) [L, R] TB IN 2TR IN [L, R]
30 dBu (24.5 mV) 20 dBu (77.5 mV) 12 dBu (195 mV) 26 dBV (50.1 mV)
10 dBu (245 mV) 0 dBu (0.775 V) +4 dBu (1.23 V) 10dBV (0.316V)
+10 dBu (2.45 V) +20 dBu (7.75 V) +24 dBu (12.3 V) +10dBV (3.16 V)

MG102C, MG82CX

Unit: mm
ANALOG OUTPUT CHARACTERISTICS
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 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
Connections STEREO OUT (L, R) MONO OUT GROUP OUT (1-4) AUX OUT (1-6) ST SUB OUT [L, R] EFFECT OUT (1, 2) CH INSERT OUT *14 GROUP INSERT OUT (1-4) ST INSERT OUT [L, R] REC OUT [L, R] PHONES OUT Actual Source Impedance For Use With Nominal 600 Lines 600 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) +24 dBu (12.3 V) +20 dBu (7.75 V) +20 dBu (7.75 V)
Connector XLR-3-32 type*3 Phone Jack (TRS) *8 Phone Jack (TRS) *8
MG124C, MG124CX MG166C, MG166CX, MG206C, MG166C-USB, MG166CX-USB, MG206C-USB,
0 dBV (0.775 V) 10 dBV (0.316 V) 3 mW
+20 dBV (7.75 V) +10 dBV (3.16 V) 75 mW
Phone Jack (TRS) *4 RCA Pin Jack Stereo Phone Jack
MG82CX, MG102C Block and Level Diagram
MG166C, MG166CX, MG166C-USB, MG166CX-USB
ANALOG INPUT CHARACTERISTICS
Connections CH INPUT MIC (1-8) CH INPUT LINE (1-8) ST CH MIC INPUT (9/10, 11/12) ST CH LINE INPUT (9/10, 11/12) ST CH INPUT (13/14, 15/16) CH INSERT IN ( 1-8) 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) 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

Connections STEREO OUT (L, R) GROUP OUT (1-4) AUX SEND (1-4) CH INSERT OUT (CH 1-12) REC OUT (L, R) MONITOR OUT (L, R) PHONES OUT 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*3 Phone Jack *4 Phone Jack *8 Phone Jack *8 Phone Jack *6 RCA Pin Jack Phone Jack *8 Stereo Phone Jack
Computer OS CPU Memory 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
Mic Stand Adapter BMS10-A

for MG82CX, MG102C

MG124C, MG124CX
Connections CH INPUT MIC (1-4) Gain Trim 60 dB 16 dB 34 dB +10 dB 60 dB 16 dB 34 dB +10 dB Actual Load Impedance 3k For Use With Nominal 50600 Mics 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) 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) 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) Connector XLR-3-31 type *3

MG24/14FX, MG32/14FX

Connections PAD Gain Trim Actual Load Impedance For Use With Nominal Input level Nominal Max. before clip 60 dBu (0.775 mV) 40 dBu (7.75 mV) 34 dBu (15.5 mV) +14 dBu (155 mV) 16 dBu (123 mV) +4 dBu (1.23 V) +10 dBu (2.45 V) +30 dBu (24.5 V) 34 dBu (15.5 mV) 14 dBu (155 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) 0 dBu (0.775 V) +20 dBu (7.75 V) 0 dBu (0.775 V) +20 dBu (7.75 V) +4 dBu (1.23 mV) +24 dBu (12.3 V) 50 dBu (2.45 mV) -30 dBu (24.5 mV) 10 dBu (316 mV) +10 dBu (3.16 V) Connector

BLOCK AND LEVEL DIAGRAM

MG124C, MG124CX Block and Level Diagram
MG206C, MG206C-USB Block and Level Diagram
MG166C, MG166CX, MG166C-USB, MG166CX-USB Block and Level Diagram
MG24/14FX, MG32/14FX Block and Level Diagram