Yamaha MG12/4 Owner's Manual
Contents
1. YAMAHA MIXING CONSOLE MG16 4 MG12 4 Owner s Manual Fassa aaa a e e ee ee MG16 4 o Ge 9 S T Os mr 3b ITI Xe XL XE elf XL X f VY ECIAM Xs M3 ra um i Sus 259 D 9 99 i Baud as aut i eene er le H SZ obs fase Making the Most Of Your Mixer Pages 6 to 17 Precautions For safe operation N WARNING Installation Connect this unit s AC power adaptor only to an AC outlet of the type stated in this Owner s Manual or as marked on the unit Failure to do so is a fire and electrical shock hazard Do not allow water to enter this unit or allow the unit to become wet Fire or electrical shock may result Do not place a container with liquid or small metal objects on top of this unit Liquid or metal objects inside this unit are a fire and electrical shock hazard Do not place heavy objects including this unit on top of the power cord A damaged power cord is a fire and electrical shock hazar2. 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 chan nels Equalizer HIGH MID and LOW This three band equalizer adjusts the channel s high mid and low frequency bands Setting the knob to the w position pro duces a flat 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 Base Frequency Maximum Cut Boost HIGH Shelving 10 kHz MID Peaking 2 5 kHz 15 dB LOW Shelving 100 Hz AUX1 and AUX2 Controls The AUXI knob controls the signal level that the channel sends to the AUXI bus the AUX2 knob controls the signal level to the AUX2 bus The knob should generally be set close to the w 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 regard lt u less of the setting of the ST switch 8 PRE Switch Selects whether the pre fader or the post fader signal is fed to the AUXI bus If you set the switch on the mixer sends the pre fader signal the signal prior to passage though channel fader OU to the AUX1 bus so that AUX1 output is not affected by
3. MG16 4 MG12 4 a P Setting Up Rack Mounting B Mounting the MG16 4 B Mounting the MG12 4 1 Two metal rack mount supports are screwed onto the unit Use 1 Two metal rack mount supports are screwed onto the unit Use a screwdriver to remove these supports a screwdriver to remove these supports 2 Turn the supports over and fasten them into place again using 2 Turn the supports over and fasten them into place again using the same screws the same screws 3 Mount the unit into the rack and fasten it into place 3 Mount the unit into the rack and fasten it into place If you wish you may move the left support to the e ege lt a right side and the right support to the left side as Do not install the mixer near power amps or other shown in the drawing heat generating devices Le zs 0000000000 o 0000000000 o OOoOoOoOoOoOoOO0O0O0O0 gS ooooooooooooc q 0000000000000 0000000000000 000000000000 00000000000 222232392399 00 9999009909909 00 000000000000 00 000000000000 00 0000000000000 o 0000000000000 o H ntu pmnpogagngmHao Hg9ougpgagugmpoaeuud 8 Do not install the mixer near power amps or other heat generating devices 28 MG16 4 MG12 4 Appendix ae B General Specifications Frequency Characteristics ST OUT 20 Hz 20 kHz 1 dB 3 dB 4 dBu 600 o with
4. 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 MG16 4 MG12 4 a 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 Owner s Manual carefully before beginning use so that you will be able to take full advantage of the mixer s superlative features and enjoy trouble free operation for years to come e The MG16 4 provides 16 input channels that can assign to Ste Introduction trees lati 4 reo or Group output Features eere detenti einen 4 e The MG12 4 provides 12 input channels that can assign to Ste reo or Group output Contents
5. also use these jacks when you wish to record the signal utilizing the level control applied by the ST fader in the Master Control section XLR jacks XLR type balanced output jacks Line jacks TRS phone type balanced output jacks C R OUT Jacks Use these stereo phone type output jacks to connect to your monitor system lt gt SEND Jacks AUX1 AUX2 These are impedance balanced phone type output jacks These jacks output the signals from the AUX1 and AUX2 respectively Use these jacks to output these signals to an 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 effector or a cue box or other such monitor system 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 AUX1 and AUX2 buses These jacks are typically used to receive a return signal from an external effector reverb delay etc These jacks can also be used as an auxiliary stereo lt a 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 9 REC OUT L R Jacks By connecting these jacks to an external DAT recorder or cas sette recorder you can record the same signal that is being out put from the ST OUT jacks lt gt The mixer s S
6. 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 A group of channels whose levels need to Controlled As a Group maintain the same relationship a drum mix for example can 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 Eroi Once the mix between the channels assigned to p i Fader 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 G R U P B Stereo U Master S Fader MAIN PROGRAM BUS MG16 4 MG12 4 Making the Most Of Your Mixer 4 3 Channel Inserts for Channel specific Processing Another way to get the mixer s 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 mixer s internal sig nal path Unlike the AUX sends and returns the channel insert only applies to the corresponding chan nel Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specific channel although they c
7. gain control at minimum level Total Harmonic Distortion ST OUT 0 1 THD N 14 dBu 20 Hz 20 kHz 600 with gain control at maximum level MG16 4 CH1 8 MG12 4 CH1 4 Hum and Noise Equivalent input noise 150 o MG16 4 CHs 1 to 8 EEN MG12 4 CHs 1 to 4 100 dBu Residual output noise ST OUT ST GROUP Master fader at nominal level and all Ch ER assign SW s off AUX master control at nominal level all channel mix RM controls at minimum level ST GROUP Master fader and one Ch fader at nominal SERIES UE eT level MG16 4 CH1 8 MG12 4 CH1 4 Maximum Voltage Gain 60 dB CH MIC INPUT CH INSERT OUT 84 dB CH MIC INPUT gt GROUP OUT ST OUT CH to ST 94 dB CH MIC INPUT ST OUT GROUP to ST 62 2 dB CH MIC INPUT REC OUT CH to ST 76 dB CH MIC INPUT AUX SEND PRE 86 dB CH MIC INPUT AUX SEND POST 58 dB CH LINE INPUT gt GROUP OUT ST OUT CH to ST 84 dB ST CH MIC INPUT GROUP OUT ST OUT CH to ST 58 dB ST CH LINE INPUT GROUP OUT ST OUT ST CH to ST 47 dB ST CH LINE INPUT AUX SEND PRE 57 dB ST CH LINE INPUT AUX SEND POST 34 dB ST CH INPUT GROUP OUT ST OUT ST CH to ST 16 dB RETURN ST OUT 9 dB RETURN AUX SEND 27 8 dB 2TR INPUT 5 ST OUT Monaural Stereo Input Gain Control 44 dB variable Monaural Stereo High Pass Filter 80 Hz 12 dB octave Crosstalk 1 kHz 70 dB between input channels 70 dB between input output cha
8. in a relatively noise free environment Long line level runs The ambient electromagnetic noise level will be the ultimate deciding factor but balanced is best B 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 flat line The signals cancel each other out Normal phase signal K No signal Phase cancellation M Reverse phase signal A RE 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 fluctuates 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 in phase and the induced noise suddenly finds itself out of phase The out of phase noise signal is effec tively canceled while the audio signal is lef
9. sends are most commonly used in conjunc tion with the mixer s AUX or effect returns for external effect processing return signal is used in this case Pre fader send for a monitor mix The send signal is fed to the monitor power amplifier and speaker system The channel fader does not affect the send level so the monitor mix remains independent of the main mix No SEND Channel Master Fader Fader AUX Send Level PRE POST AUX Send Level Il AUX Return Level SEND RETURN Post fader send for external effects processing The send signal is fed to the external effect unit a reverb unit for example and 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 MG16 4 MG12 4 Making the Most Of Your Mixer 4 2 Using Groups Group buses and faders can greatly simplify the mixing process particularly 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
10. settings of the ST GROUP toggle switch the 2TR IN switch and the PFL switches on the input channels Front amp Rear Panels MG16 4 MG12 4 a P dn Front amp Rear Panels Rear Input Output Section D 5 9 0 8 INSERT I O 7 INSERTI O OdBu 6 INSERT I O 3 INSERTI O 2 INSERTI O 1 INSERT I O ECH OdBu ju Bu TET zm BORO M AN A N ANIA ad 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 Where an input channel provides both a MIC INPUT jack and a LINE INPUT jack you may use either one of these jacks but you may not use both at the same time Please connect to only one of these jacks on each channel INSERT I O Jacks Each of these jacks is positioned between the equalizer and fader of the corresponding input channel MG16 4 CHs 1 to 8 MG12 4 CHs 1 to 4 These jacks can be used to indepen dently connect these channels to devices such as graphic equal izers compressors and noise filters These are TRS tip ring sleeve phone jacks that support bidirecti
11. signals i Mi are attenuated 4 Summing Amplifier This is where the actual mixing takes place Signals from all of the mixer s m Master Section Equalizer Could be simple bass and treble con trols 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 It s usually better to cut than boost MG16 4 MG12 4 input channels are summed mixed together here Master Fader amp Level Meter A stereo mono or bus master fader and the mixer s 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 Making the Most Of Your Mixer The First Steps in Achieving Great Sound Before you even consider EQ and effects or even the overall mix it is important to make sure that levels are properly set for each individual source This can t be stressed enough initial level setup is vitally important for achieving optimum performance from your mixer Here s why and how 3 1 The Head Amplifier Gain Control Is the Key Let s review our simplified mixer block diagram 00000 IN SL s OUT Each and every stage in the mixer s signal path will add a certain amount of noise to the signal the head amp the EQ stage the summing amplifier and the other buffer and gain stages that exist in the actual mixer
12. the fader If you set the switch off L the mixer sends the post fader signal to the AUX1 bus Note that this switch applies to AUX1 only The signal to the AUX2 bus always passes through the channel fader first 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 channel s 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 ui 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 channel s 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 PFL Pre Fader Listen Switch This switch lets you monitor the channel s pre fader signal To set the switch on press it in so that it lig
13. the way down It s also possible to start with all faders at their nominal settings but it s too easy to lose perspective with this approach Start with all faders down then bring them up one by one to fill 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 first 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 amp B Groove The approach will be totally different if you re mixing a funky R amp B number that centers on the groove In this case most engineers will start with the drums and then add the bass The relation ship 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 supplyi
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15. 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK 2730 Herlev Denmark Tel 44 92 49 00 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Nzringspark 1 N 1345 ster s Norway Tel 67 16 77 70 OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstrafe 22 34 25462 Rellingen Germany Tel 49 4101 3030 AFRICA Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2313 MIDDLE EAST TURKEY CYPRUS Yamaha Music Central Europe GmbH Siemensstrafe 22 34 25462 Rellingen Germany Tel 04101 3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21 128 Jebel Ali Freezone P O Box 17328 Dubai U A E Tel 4971 4 881 5868 ASIA THE PEOPLE S REPUBLIC OF CHINA Yamaha Music amp Electronics China Co Ltd 25 F United Plaza 1468 Nanjing Road West Jingan Shanghai China Tel 021 6247 2211 INDONESIA PT Yamaha Music Indonesia Distributor PT Nusantik Gedung Yamaha Music Center Jalan Jend Gatot Subroto Kav 4 Jakarta 12930 Indonesia Tel 21 520 2577 KOREA Yamaha Music Korea Ltd Tong Yang Securities Bldg 16F 23 8 Yoido dong Youngdungpo ku Seoul Korea Tel 02 3770 0660 MALAYSIA Yamaha Music Malaysia Sdn Bhd Lot 8 Jalan Perbandaran 47301 Kelana Jaya Petaling Jaya Selangor Malaysia Tel 3 78030900 SINGAPORE Yamaha Music Asia Pte Ltd No 11 Ubi Road 1 No 06 02 Meiban Industri
16. CR eA 10kQ 600aline 495 mv 1 23 V 12 3 V T hot S ground 26 dBV 10 dBV 10 dBV ini 2TRIN L R 10 ko 600 Q line 50 1 mV 816 mV 3 16 V RCA pin jack Where 0 dBu 0 775 V and 0 dBV 1V B Output Specifications Input sensitivity the lowest level that will produce the nominal output level when the unit is set to maximum gain Output Connectors EE E Rated Level EE Connector Specifications XLR 3 32 type balanced ST OUT L R 1500 600 Q line 4 dBu 1 23V 24 dBu 12 3 V Phone jack TRS balanced T hot R cold S ground y Phone jack TRS GROUP OUT 1 2 1500 10kQline 4dBu 1 23V 20dBu 7 75V impedance balanced T hot R cold S AUX SEND 1 2 round CH INSERT OUT Phone jack TRS MG16 4 CHs 1 1500 10 ko Bu 0 775 V 20 dBu 7 75 V EE 1 e P 50 0 ne 0 dBu 0 775 V 20 dBu 7 75 V unbalanced T out R in S ground REC OUT L R 600 Q 10 ko line 10 dBV 316 mV 10 dBV 3 16 V RCA pin jack Phone jack TRS C R OUT L R 1500 10 ko line 4 dBu 1 23 V 20 dBu 7 75 V impedance balanced T hot R cold S ground PHONES 1009 40 Q phone 3 mW 75 mW Stereo phone jack Where 0 dBu 0 775 V and 0 dBV 1 V Specifications and descriptions in this owner s manual are for information purposes only Yamaha Corp reserves the right to change or modify products or specifications at any time without prior notice S
17. ETC Guitar alo col ES DIE 10 G D n Sound Source Ton MD ip DAT cassette video etc Powered Monitor Speakers is Master Recorder MD CD R DAT etc Headphones DE fo eejeeeieze 24 MG16 4 MG12 4 Setting Up n B Sound Reinforcement for Live Performance Monitor Speakers Internal OO Effector OHB H CD Cassette or DAT Re corder I Microphones Synthesizer o Gomm CO i ss un o zm INSERT I O 3 INERT 2 Mere 1 erat 2 CHO 39905 HE OO Power Amp Main Speakers External 0 0 0 0 0 O0 o olo olo a Headphones Guitar o o og qq a o o o o Example of Speaker Arrangement Stage Internal iva AUX 1 PRE Audience External
18. Input Connector Gain Impedance Impedance Sensitivity Rated Level Clipping Specifications en 80 dBu 60 dBu 40 dBu MIC INPUT 0 078 mV 0 775mV 7 75 mV MG16 4 CHs 1 to 8 3 kQ 50 600 Q mic XLR 3 31 type balanced MG12 4 CHs 1 to 4 16 36 dBu 16 dBu 4 dBu 12 3 mV 123 mV 1 23 V 34 54 dBu 34 dBu 14 dBu LINE INPUT 1 55 mV 15 5 mV 155 mV Phone jack TRS MG16 4 CHs 1 to 8 10 kQ 600 Q line balanced T hot R cold MG12 4 CHs 1 to 4 410 10 dBu 10 dBu 30 dBu S ground 245 mV 2 45 V 24 5 V ST CH MIC INPUT 60 80 dBu 60 dBu 40 dBu MG16 4 CH9 L CH10 R 0 078 mV 0 775 mV 7 75 mV CH11 L CH12 R 3 ka 50 600 mic XLR 3 31 type balanced MG12 4 CH5 L CH6 R 16 36 dBu 16 dBu 10 dBu CH7 L CH8 R 12 3 mV 123 mV 245 mV ST CH LINE INPUT 34 54 dBu 34 dBu 14 dBu MG16 4 CH9 L CH10 R 1 55 mV 15 5 mV 155 mV CH11 L CH12 R 10 ko 600 Q line Phone jack unbalanced MG12 4 CH5 L CH6 R 10 10 dBu 10 dBu 30 dBu CH7 L CH8 R 245 mV 2 45 V 24 5 V ST CH INPUT WT ioko enn o te 120 d n 10dBu 10dBu Phone jack unbalanced MG12 4 CH9 L CH10 R 24 5 mV 245 mV 2 45 V RCA pin jack CH11 L CH12 R CH INSERT IN E Phone jack TRS MG16 4 CHs 1 to 8 10ko 6000 line Ke 0 778 v Kar unbalanced T out R in MG12 4 CHs 1 to 4 i i S ground 12 dBu 4 dBu 24 dBu Phone jack TRS unbalanced S
19. T 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 Front amp Rear Panels 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 lt gt 0 POWER Switch Use this switch to set mixer power to ON or STANDBY AN You can adjust the signal level using the 2TR IN control in the Master Control section Note that trace current continues to flow 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 42 AC ADAPTOR IN Connector Connects to the included PA 20 power adaptor see page 5 AN Use only the PA 20 adaptor included with this mixer Use of a different adaptor may result in fire or electric shock INPUT OUTPUT Pin 1 Ground MIC INPUT ST OUT Pin 2 Hot Pin 3 Cold LINE INPUT monaural channels Tip Hot GROUP OUT ST OUT C R OUT Ring Cold AUX1 AUX2 Sleeve Ground Ring Tip Output es INSERT I O Ring Input 1 LI Sleeve Ground RT Sleeve Tip Tip L PHONES Ring R Sleeve Ground RETURN Tip Hot Lo LINE INPUT stereo channels Sleeve Ground Sleeve Tip These jacks will also accept connection to monaural phone plugs If you use mon
20. al Building Singapore Tel 747 4374 TAIWAN Yamaha KHS Music Co Ltd 3F 6 Sec 2 Nan Jing E Rd Taipei Taiwan 104 R O C Tel 02 2511 8688 THAILAND Siam Music Yamaha Co Ltd 891 1 Siam Motors Building 15 16 floor Rama 1 road Wangmai Pathumwan Bangkok 10330 Thailand Tel 02 215 2626 OTHER ASIAN COUNTRIES Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2317 OCEANIA AUSTRALIA Yamaha Music Australia Pty Ltd Level 1 99 Queensbridge Street Southbank Victoria 3006 Australia Tel 3 9693 5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2313 HEAD OFFICE Yamaha Corporation Pro Audio amp Digital Musical Instrument Division Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2441 YAMAHA Yamaha Manual Library http Awww2 yamaha co jp manual english U R G Pro Audio amp Digital Musical Instrument Division Yamaha Corporation 2002 Yamaha Corporation V981800 312CRCR68 2 06D0 Printed in China
21. alle 47 y Aquilino de la Guardia Ciudad de Panam Panam Tel 4 507 269 5311 EUROPE THE UNITED KINGDOM Yamaha Kemble Music U K Ltd Sherbourne Drive Tilbrook Milton Keynes MK7 8BL England Tel 01908 366700 GERMANY Yamaha Music Central Europe GmbH Siemensstrafe 22 34 25462 Rellingen Germany Tel 04101 3030 SWITZERLAND LIECHTENSTEIN Yamaha Music Central Europe GmbH Branch Switzerland Seefeldstrasse 94 8008 Z rich Switzerland Tel 01 383 3990 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 PA09 Para detalles sobre productos contacte su tienda Yamaha m s cercana o el distribuidor autorizado que se lista debajo BELGIUM LUXEMBOURG Yamaha Music Central Europe GmbH Branch Belgium Rue de Geneve Genevastraat 10 1140 Brussels Belgium Tel 02 726 6032 FRANCE Yamaha Musique France BP 70 77312 Marne la Vall e Cedex 2 France Tel 01 64 61 4000 ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN PORTUGAL Yamaha Hazen M sica S A Ctra de la Coruna km 17 200 28230 Las Rozas Madrid Spain Tel 91 639 8888 SWEDEN Yamaha Scandinavia AB J A Wettergrens Gata 1 Box 30053 S 400 43 G teborg Sweden Tel 031
22. an be used with just about any type of in out processor INSERT INSERT SEND RETURN Channel Fader When a plug is inserted into the channel insert jack the inter nal signal path is interrupted and sent outside the mixer for external processing Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the split Y end One of the mono phone jacks carries the send signal to be fed to the input of the external processor and the other carries the return signal from the output of the pro cessor To the input jack of the external processor To the INSERT I O jack CP Sleeve Tip Sleeve Ring Tip To the output jack of the external processor MG16 4 MG12 4 a Making the Most Of Your Mixer Making Better Mixes 5 1 Approaching the Mix Where Do You Start Mixing is easy right Just move the faders around until it sounds right Well you can do it that way but a more systematic approach that is suited to the material you re mixing will produce much better results and faster There are no rules and you ll probably end up developing a system that works best for you But the key is to develop a system rather than working haphazardly Here are a few ideas to get you started Faders Down It might sound overly simple but it is usually a good idea to start with all channel faders off all
23. anced signals with no problem Microphone cables usually have this type of connector as do the inputs and outputs of most professional audio gear Male Female MG16 4 MG12 4 42 Making the Most Of Your Mixer 1 2 Balanced Unbalanced What s the Difference In a word noise The whole point of balanced lines is noise rejection and it s something they re very good at Any length of wire will act as an antenna to pick up the random electromagnetic radiation we re 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 That s why balanced lines are the best choice for long cable runs If your studio is basically confined to your desktop and all connections are no more than a meter or two in length then unbalanced lines are fine unless you re surrounded by extremely high lev els 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 amplified to an alarming degree in the mixer s high gain head amplifier To summarize Microphones Use balanced lines Short line level runs Unbalanced lines are fine if you re
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25. aural plugs the connection will be unbalanced MG16 4 MG12 4 a La tese Setting Up D Where an input channel provides both a MIC INPUT Setup Procedure lt m jack and a LINE INPUT jack you may use either one of these jacks but you may not use both at the same time Please connect to only one of these 1 Before connecting to microphones and instruments be sure e jacks on each channel that all devices are turned off Also be sure that all of the mixer s channel faders and master control faders are set all the 3 To avoid causing damage to speakers power up the devices in way down the following order Peripheral devices mixer power 2 For each connection connect one end of the cable to the rele amps or powered speakers vant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer When shutting the system down turn off the power LINE jacks on MG16 4 CHs 1 to 8 on MG12 4 1 to 4 MIC i in the opposite order Power amps powered speak jacks on MG16 4 CHs 1 to 8 9 10 11 12 on MG12 4 1 to 4 ers gt mixer peripheral devices 5 6 Setup Examples B Home Recording Us UL o i Eg IHRER T Effector Rhythm Machine Synthesizer jo HJ Effector Effector MS Di 6 580909
26. circuit this applies to analog mixers in particular The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any significant degree on the level of the audio signal passing through the circuit This means that the bigger the desired signal the smaller the added noise will be in relation to it In tech speak this gives us a better signal to noise ratio often abbreviated as S N ratio All of this leads to the following basic rule To achieve the best overall system S N ratio amplify the input to the desired average level as early as possible in the signal path In our mixer that means the head amplifier If you don t get the signal up to the desired level at the head amplifier stage you will need to apply more gain at later stages which will only amplify the noise con tributed by the preceding stages Just remember that too much initial gain is bad too because it will over load our channel circuitry and cause clipping MG16 4 MG12 4 di Making the Most Of Your Mixer 3 2 Level Setup Procedure For Optimum Performance Now that we know what we have to do how do we do it If you take another quick look at the mixer block diagram you ll notice that there s a peak indicator located right after the head amplifier and EQ stages and therein lays our answer Although the exact procedure you use will depend on the type of mixer you use and the application as well as your pe
27. create the effect of a band in a cave which is a perfectly legitimate creative goal if that s the sort of thing you re aim ing for MG16 4 MG12 4 Wf m Front A Rear Panels Channel Control Section Channels Channels Channels 1 to 8 MG16 4 9 10 and 11 12 13 14 and 15 16 1 to 4 MG12 4 MG16 4 MG16 4 Monaural 5 6 and 7 8 9 10 and 11 12 MG12 4 MG12 4 Stereo Stereo Note Within this manual all panel illustrations show the MG16 4 panel m MG16 4 MG12 4 D GAIN Control 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 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 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 9 10 and 11 12 on the MG16 4 5 6 and 7 8 on the MG12 4 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 80 Switch High Pass Filter This switch toggles the HPF on or off To turn the HPF on press the switch in The
28. d In particular be careful not to place heavy objects on a power cord covered by a carpet Do not scratch bend twist pull or heat the power cord A dam aged power cord is a fire and electrical shock hazard Do not remove the unit s cover You could receive an electrical shock If you think internal inspection maintenance or repair is necessary contact your dealer Do not modify the unit Doing so is a fire and electrical shock hazard If lightning begins to occur turn off the power switch of the unit as soon as possible and unplug the power plug from the electri cal outlet If there is a possibility of lightning do not touch the power plug if it is still connected Doing so may be an electrical shock haz ard Use only the included AC power adaptor PA 20 for this unit Using other types may be a fire and electrical shock hazard In case an abnormality occurs during operation If the power cord is damaged i e cut or a bare wire is exposed ask your dealer for a replacement Using the unit with a damaged power cord is a fire and electrical shock hazard Should this unit and AC adaptor be dropped or the cabinet be damaged turn the power switch off remove the power plug from the AC outlet and contact your dealer If you continue using the unit without heeding this instruction fire or electrical shock may result If you notice any abnormality such as smoke odor or noise or if a foreign object or liquid gets in
29. ean 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 densi ties 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 princi ples applies to delay Reverb Tone How bright or bassy a reverb sound is also has a huge impact on the sound of your mix Dif ferent reverb units offer different means of con trolling this balance between the high and low frequency reverb times simple EQ and others A reverb that is too bright will not only sound unnat ural but it will probably get in the way of delicate highs you want to come through in your mix If you find yourself hearing more high end reverb than mix detail try reducing the brightness of the reverb sound This will allow you to get full bod ied ambience without compromising clarity Reverb Level It s amazing how quickly your ears can lose per spective and fool you into believing that a totally washed out mix sounds perfectly fine To avoid falling into this trap start with reverb level all the way down then gradually bring the reverb into the mix until you can just hear the difference Any more than this normally becomes a special effect You don t want reverb to dominate the mix unless you are trying to
30. gether 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 To EQ Or Not To EQ In general less is better There are many situations in which you ll need to cut certain frequency ranges but use boost sparingly and with caution Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better definition Bad EQ and most com monly bad boost just sounds terrible Cut For a Cleaner Mix For example cymbals have a lot of energy in the mid and low frequency ranges that you don t 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 You ll hear the difference however in the way the mix sounds more spacious and instruments in the lower ranges will have better definition Surpris ingly enough piano also has an incredibly power ful low end that can benefit from a bit of low frequency roll off to let other instruments nota bly drums and bass do their jobs more effec tively Naturally you won t want to do this if the piano is playing solo The reverse applies to kick drums and bass gui tars you can often roll off the hi
31. gh end to create more space in the mix without compromising the character of the instruments You ll have to use your ears though because each instrument is dif ferent and sometimes you ll want the snap of a bass guitar for example to come through Boost With Caution If you re trying to create special or unusual effects go ahead and boost away as much as you like But if you re just trying to achieve a good sounding mix boost only in very small incre ments 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 don t 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 Making the Most Of Your Mixer 5 4 One of the biggest problems with too much boost is that it adds gain to the signal increasing noise and potentially overloading the subsequent cir cuitry Ambience Judicious application of reverb and or delay via the mixer s 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 capabil ities 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 m
32. hts up When the switch is on the mixer outputs the channel s pre fader signal to the PHONES and C R OUT jacks for monitoring GROUP Switch Use this switch to assign the channel s signal to the Group out put Press the switch in to output the signal to the Group 1 and 2 buses Allows you to output the signal to the buses regard lt a less of the setting of the ST switch D Channel Fader Adjusts the output level of the signal being input to the chan nel Use these faders to adjust the volume balance among the various channels To reduce noise set the fader sliders for unused lt a channels all the way down P Front amp Rear Panels MG16 4 MG12 4 Po Front amp Rear Panels Master Control Section 6 EE DR 20Y MG16 4 MG12 4 PHANTOM 48V TO ST PHONES K ul P x a 10 C R PHONES GROUP 2TR IN ST Master Fader Adjusts the signal level to the ST OUT jacks GROUP 1 2 Fader Adjusts the signal level to the GROUP OUT 1 and GROUP OUT 2 jacks TO ST Switch If this switch is on the mixer sends the signals processed by the GROUP 1 2 fader onto the Stereo bus The Group 1 signal goes to Stereo L and the Group 2 signal goes to Stereo R Master SEND AUX1 and AUX2 Controls Adjust the signal level respectively These are the signals tha
33. i mte itat menti 4 e The monitor includes a convenient C R OUT jack This jack can Before Turning on the Mixer 5 be ised to monitor Wie naso QUpUE thie PEL signal ot the Turning the Power On in 5 Group 1 2 signals e The mixer includes dual AUX SEND jacks and a single Making the Most Of Your Mixer 6 RETURN jack The two independent AUX buses may be used as sends to external effectors and monitor systems 1 A Place For Everything and Everything In Its Place roo eR 7 e Phantom power supply enables easy connection to condenser microphones that run on external power 2 Where Your Signal Goes Once It s Inside the BOX ecce ees 10 e The mixer provides channel specific INSERT I O jacks for input channels 1 to 8 MG16 4 or 1 to 4 MG12 4 These jacks make 3 The First Steps in Achieving Great Sound 11 it possible to insert different effectors into different channels e Input channels 1 to 8 9 10 and 11 12 MG16 4 and 1 to 4 5 6 4 External Effects Monitor Mixes and Groups ace ferret 13 and 7 8 MG12 4 are each equipped with both an XLR mic P input jack and a TRS phone type line jack Input channels 13 14 5 Making Better MixeSs 16 and 15 16 MG16 4 and 9 10 and 11 12 MG12 4 are each equipped with both a TRS line input jack and an RCA line input Front A Rear Panels 18 jack im YOU RES of SEH Se c
34. ince specifications equipment or options may not be the same in every locale please check with your Yamaha dealer For European Model Purchaser User Information specified in EN55103 1 and EN55103 2 Inrush Current 6A Conformed Environment E1 E2 E3 and E4 MG16 4 MG12 4 P Appendix Dimensional Diagrams B MG16 4 oo o o 428 393 H 108 e Te O ee e ees aeeee ee eeee ee eleeee ee eieeeeies eleeee ee eleeee ee eieeseies eleeee ee eleeee ee eleeee ee eleeee ee eleeee ee oo o m a o a o Oo Q a o o a 480 DE e je O ee o ees eeee ee eee ee eieeeeies e eeee ee eleeee ee e eeee ee eieeeeiee eieeeeies eieeeeiee eieeeeies e eeee ee eleeee ee goaoaouadoonuodaai d W 423 When mounted on rack B MG12 4 0 O O e o KH x e d o o eo o C ee 00 5 B 0 ee o 00 3 ees 00 3 g eeee eeo 0 m cof 4 6666660 1 m oofa N e 0ee0 ee0 1m Q 0098 d eeee e n
35. l of the connected equipment Inputs that feature a Gain control such as the mono channel inputs on your Yamaha mixer will accept a very wide range of input levels because the control can be used to match the input s sensi tivity to the signal More on this later MG16 4 MG12 4 a Making the Most Of Your Mixer Where Your Signal Goes Once It s 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 Here s a greatly simplified block diagram of a generic mixer to help you become familiar with the way these things work 2 1 Greatly Simplified Mixer Block Diagram Input Channel Master Section 00000 IN gt 209 M s OUT Signals from the mixer s other input channels if they are assigned to this master output or bus D 3 Channel Peak LED amp Fader The channel peak LED is your most D Head Amp valuable tool for setting the input gain control for optimum performance Note that it is located after the head amp and EQ stage B input Channel The very first stage in any mixer and usually the only stage with significant gain or amplification The head amp has a gain control that adjusts the mixer s input sensitivity to match the level of the source Small signals e g mics are amplified and large
36. ng 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 MG16 4 MG12 4 5 2 Music First Then Mix In any case the music comes first Think about the music and let it guide the mix rather than try ing to do things the other way around What is the music saying and what instrument or technique is being used to drive the message That s where the focus of your mix should be You re using a high tech tool to do the mixing but the mix itself is as much art as the music Approach it that way and your mixes will become a vital part of the music Panning For Cleaner Mixes Not only does the way you pan your individual channels determine where the instruments appear in the stereo sound field but it is also vital to give each instrument it s own space so that it doesn t conflict with other instruments Unlike live sound in a real acoustic space recorded stereo sound is basically 2 dimensional although some types of surround sound are actually very 3 dimensional and instruments positioned right on top of each other will often get in each other s way particu larly if they are in the same frequency range or have a similar sound 5 3 Spread them Out Position your instruments so they have room to breathe and connect in the most musical way with other instruments Sometimes however you ll want to deliberately pan sounds close to
37. nnels CH INPUT Monaural Stereo Input Channel Equalization Max Variation 15 dB HIGH 10 kHz shelving MID 2 5 kHz peaking LOW 100 Hz shelving Monaural Stereo Input Peak Indicator On each channel red indicator lights if post EQ signal on ST channels if either post EQ sig nal or post mic amp signal comes within 3 dB of the clipping level Level Meters Two 12 point LED meters Peak point red indicator 5 3 1 and 0 points yellow indicators 1 3 5 7 10 15 20 green indicators Phantom 48 VDC Power Balanced input Supplied when Phantom 48 V switch is ON Included Accessory Power adaptor PA 20 USA and Canada 120V AC 60 Hz Power Suppi Europe 230V AC 50 Hz PE Australia 240V AC 50 Hz Korea 220V AC 60Hz Power Consumption MG16 4 36 W MG12 4 29 W Max Dimensions W x H x D MG16 4 423 x 108 x 416 6 mm MG12 4 322 x 108 x 416 6 mm Weight MG16 4 5 2 kg MG12 4 5 0 kg Where 0 dBu 0 775 V and 0 dBV 1 V 1 Measured with 12 7 kHz 6 dB oct low pass filter equivalent to 20 kHz filter CH MIC INPUT to ST GROUP OUT AUX EFFECT SEND i Turning PAN BAL to left or right 3 Shelving turnover rolloff frequency 3 dB before maximum cut or boost MG16 4 MG12 4 e p Appendix B input Specifications Input Appropriate wit Max Before Connector
38. o gear for many years Also known as phono jacks short for phonogram but the term isn t used much these days besides it s too easily confusable with phone jacks below RCA pin jacks are always unbalanced and generally carry a line level signal at 10 dB nominal You re most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer or when connecting the output of your mixer to a cassette recorder or similar gear The Versatile Phone Jack The name phone jack arose simply because this configuration was first used in telephone switchboards Phone jacks can be tricky because you can t always tell what type of signal they re designed to handle just by looking at them It could be unbalanced mono unbalanced stereo balanced mono or an insert patch point The connector s label will usually tell you what type of signal it handles as will the owner s manual you do keep your manuals in a safe place don t you A phone jack that is set up to handle balanced signals is also often referred to as a TRS phone jack TRS stands for Tip Ring Sleeve which describes the configuration of the phone plug used 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 unbal
39. off press the power switch to the STANDBY position A Note that trace current continues to flow while the switch is in the STANDBY position If you do not plan to use the mixer again for a long while please be sure to unplug the adaptor from the wall outlet MG16 4 MG12 4 a e ei el e e o E mmm MG16 4 MG12 4 An Introduction You ve got yourself a mixer and now you re ready to use it Just plug everything in twiddle the controls and away you go right Well if you ve done this before you won t have any problems but if this is the first time you ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes o 0000 d a S gt vin meme J d EST F u ME Sage c i iL Making the Most Of Your Mixer A Place For Everything and Everything In Its Place 1 1 A Plethora Of Connectors What Goes Where Questions you re likely to encounter when setting up a system for the first time might include Why all these different types of connectors on the back of my mixer and What s the difference Let s start by taking a look at the most common connector types The Venerable RCA Pin Jack This is the consumer connector and the one that has been most commonly used on home audi
40. onal operation lt gt Connection to an INSERT I O jack requires a spe cial separately sold insertion cable such as illus trated below To the input jack of the external processor To the INSERT I O jack pem Ring Tip To the output jack of the external processor A The signal output from the INSERT I O jacks is reverse phased This will not be a problem if con necting the jack to an effector If using the jack to out put to an external device however please be aware of possible phase conflicts with other signals 22Y MG16 4 MG12 4 w OO AN f N f N 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 CH 13 14 15 16 MG12 4 CHs 9 10 11 12 lt gt GROUP OUT 1 2 Jacks These are impedance balanced phone type output jacks that 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 output the Group 1 2 signals Use these jacks to connect to the input jacks of an MTR external mixer or other such device ST OUT L R Jacks These jacks deliver stereo output of the mixed signal You use these jacks for example to connect to the power amplifier driving your main speakers You
41. onneenon to Channel Control Section 18 many different devices from microphones to line level devices to stereo output synthesizers Master Control Section nene 20 Rear Input Output Section 22 Setting Up ENEE 24 Setup Procedure 24 Setup Examples i 24 Rack Mounting Eeen 26 elle TE 27 Specifications i 27 Dimensional Diagrams i 29 Block Diagram and Level Diagram 30 n MG16 4 MG12 4 Before Turning on the Mixer 1 Be sure that the mixer s power switch is in the STANDBY position A damage overheating or fire Use only the PA 20 adaptor included with this mixer Use of a different adaptor may result in equipment 2 Connect the power adaptor to the AC ADAPTOR IN con nector OU on the rear of the mixer and then turn the fas tening ring clockwise to secure the connection i tC CC STANDBY 3 Plug the power adaptor into a standard household power outlet Be sure to unplug the adaptor from the outlet when A not using the mixer or when there are lightning adaptor and the mixer storms in the area eTo avoid generating unwanted noise make sure there is adequate distance between the power Introduction Turning the Power On Press the mixer s power switch to the ON position When you are ready to turn the power
42. r Mixes and Groups 4 1 AUX Buses For Monitor Sends and Pre Post What s the difference Overall Effects There are a number of reasons why you might want to tap the signal flowing 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 func tions and more can be handled by the mixer s 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 con soles 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 con sider is whether you need a pre fader or post fader send AUX sends often feature a switch that allows you to configure them for pre or post fader operation pre post 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 A postfader 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
43. rsonal preferences here s a general outline 1 Start by setting all level controls to their minimum master fad ers 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 2 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 flash then back off a little so that the peak indicator flashes only occasionally Repeat for each active channel 3 Raise your master fader s and group faders if available to their nominal levels this will be the 0 markings on the fader scale 4 Now with all sources playing you can raise the channel fad ers and set up an initial rough mix That s 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 don t 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 MG16 4 MG12 4 Making the Most Of Your Mixer 14 External Effects Monito
44. s For correct operation Connector pin assignments Influence on cell phone usage e XLR type connectors are wired as follows pin 1 ground pin 2 e Using a cell phone mobile telephone near this unit may induce hot and pin 3 cold noise If noise occurs use the telephone away from the unit e Insert TRS phone jacks are wired as follows sleeve ground tip send and ring return Replacing abrasive parts e 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 e Always turn the power off when the mixer is not in use e Even when the power switch is in the STANDBY position electricity is still flowing 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 files 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 Owner s Manual are the trademarks or registered trademarks of their respective companies IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the
45. side the unit turn it off imme diately Remove the power plug from the AC outlet Consult your dealer for repair Using the unit in this condition is a fire and electrical shock hazard N CAUTION Installation Keep this unit away from the following locations Locations exposed to oil splashes or steam such as near cook ing stoves humidifiers etc Unstable surfaces such as a wobbly table or slope Locations exposed to excessive heat such as inside a car with all the windows closed or places that receive direct sunlight Locations subject to excessive humidity or dust accumulation Hold the power plug when disconnecting it from an AC outlet Never pull the cord A damaged power cord is a potential fire and electrical shock hazard Do not touch the power plug with wet hands Doing so is a potential electrical shock hazard MG16 4 MG12 4 To relocate the unit turn the power switch off remove the power plug from the AC outlet and remove all connecting cables Dam aged cables may cause fire or electrical shock Operation Do not cover or wrap the AC power adaptor with a cloth or blan ket Heat may build up under the cloth or blanket melting the case or causing fire Use only in a well ventilated environment If you know you will not use this unit for a log period of time such as when going on vacation remove the power plug from the AC outlet Leaving it connected is a potential fire hazard Precaution
46. sing 8 THO p791 m m CIS Ire V8 prewar HS v3d gt 8 100 ag PS reet WEIS Irene ie 8 o1NY a ca ge a si gg m ogg 38 aH dd T m 88 g 88 For details of products please contact your nearest Yamaha representative or the authorized distributor listed below Die Einzelheiten zu Produkten sind bei Ihrer unten aufgef hrten Niederlassung und bei Yamaha Vertragshandlern in den jeweiligen Bestimmungslindern erh ltlich Pour plus de d tails sur les produits veuillez vous adresser Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante NORTH AMERICA CANADA Yamaha Canada Music Ltd 135 Milner Avenue Scarborough Ontario MIS 3RI Canada Tel 416 298 1311 U S A Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park Calif 90620 U S A Tel 714 522 9011 CENTRAL amp SOUTH AMERICA MEXICO Yamaha de Mexico S A De C V Departamento de ventas Javier Rojo Gomez No 1149 Col Gpe Del Moral Deleg Iztapalapa 09300 Mexico D F Tel 55 5804 0600 BRAZIL Yamaha Musical do Brasil LTDA Av Rebougas 2636 S o Paulo Brasil Tel 011 3085 1377 ARGENTINA Yamaha Music Latin America S A Sucursal de Argentina Viamonte 1145 Piso2 B 1053 Buenos Aires Argentina Tel 1 4371 7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES CARIBBEAN COUNTRIES Yamaha Music Latin America S A Torre Banco General Piso 7 Urbanizaci n Marbella C
47. t are output to the AUX1 and AUX2 SEND jacks RETURN AUX1 AUX2 and ST Controls AUX1 and AUX2 Controls Adjust the level of the mixed L R signal sent from the RETURN jacks L MONO and R to the AUX1 and AUX2 buses ST Control Adjust the level of the signal sent from the RETURN jacks L MONO and R to the Stereo bus If you supply a signal to the RETURN L MONO ui jack only the mixer outputs the identical signal to 6 both the L and R Stereo buses 2TR IN Control Adjusts the level of the signal sent from the 2TR IN jack to the Stereo bus PHANTOM 48 V Switch This switch toggles phantom power on and off If you set the switch on the mixer supplies power to all channels that provide XLR mic input jacks CHs 1 8 9 10 11 12 on MG16 4 1 4 5 6 7 8 on MG12 4 Set this switch on when using one or more condenser microphones When this switch is on the mixer supplies DC 48 V ui power to pins 2 and 3 of all XLR type MIC INPUT jacks Be sure to leave this switch OFF when you are not using phantom power Humming or damage may result if you connect to an unbalanced device or to an ungrounded transformer while this switch is on But note 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 amplifiers or powered speakers before turning this switch on or off Level Meter Signal Switches ST GROUP Toggle S
48. t intact Clever eh Normal phase signal normal phase noise e o Desired signal with no noise Normal phase signal reverse phase noise A MG16 4 MG12 4 Making the Most Of Your Mixer 1 3 Signal Levels Decibel Do s and Don ts From the moment you start dealing with things audio you ll 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 don t 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 nomi nal 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 leve
49. witch 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 corre spond to the signal selection j 1 2 Sid Switch PFL 2TR IN ST GROUP PFL ON 2TR IN ON _ C R OUT amp E lorr L a OFF ST z 9 If the input channel s PFL switch is on then only the channel s 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 C R PHONES Control Controls the level of the signal output to the PHONES jack and the C R L and R jacks Level Meter This LED display shows the level of the signal selected by the selection switches described in 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 out put hits the clipping level POWER Indicator This indicator lights up when the mixer s power is ON PHONES jack Connector for headphones This is a stereo phone type output jack The signal monitored by these jacks is selected by lt a the
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