Yamaha MagicStomp Musical Instrument User Manual
Contents
1. Gp om ee 1 wee H TERRAN 7 T imam y rur 8 GH manapori sape Ho 1s al 26 AM m Es e De i ren e c Ben Er Be A D gt el Ki e c Ben Er Be a x s ca sape HO 1S sped zeegt al Bud of J 1 ferry O z P 8 reser 5 vanes d jenouo les rum eet ee n est nanos OTH NIVS as pL S Fase w terito toro STEE NI INIT HO 1S e rm 3 Lee ino vg PFL CTRL PFL A PFL L GROUPA GROUP GAOUP2 GROUP STR STL EFFECT Ehret yH dee HO Ten nanos napos nepor naboc napoz neor L napo n oor napoe nape Ate A841 erg Ka LL For details of products please contact your nearest Yamaha representative or the authorized distributor listed below Pour plus de d tails sur les produits veuil2. CD Cassette or DAT Recorder ES ses DIUI o m LE Effector 8 INSER vel 7 INSERT vol 16 INSERT x INSERT pi 3 INSERT vo 2 INSERT vo 1 INSERT uo INE b 3t INI P e LINE me LMC LO n O MIC eI JOG o6 o Ge Tg GROUP OUT 3 GN 2 Wu Headphones Guitar Main Speakers External Example of Speaker Arrangement Stage Internal iva AUX 1 Audience External KNs 28 MG16 6FX Setting Up Rack Mounting B Mounting 1 Two metal rack mount supports are screwed onto the unit Use a screwdriver to remove these supports 2 Turn the supports over and fasten them into place again using the same screws 3 Mount the unit into the rack and fasten it into place If you wish you may move the left support to the right side and the right support to the left side as shown in the drawing e EE Le EE s E E Seeeeeeeeeee 1 e eoeooooo00o00060 1 e 6e660000909096 ll 9eo0o0c009009 lll eoco0000909000 ei reoeooeeooo9 2 6 6 0000000020200 9 99 0900909090092 9 eee 900000009299 e e o0 0660 600602002602902026090 20 0 9 908099908 66
3. LOW Shelving 100 Hz MG16 6FX 8 P Front amp Rear Panels lt gt lt gt 9 AUX1 and AUX2 Controls The AUX1 knob controls the signal level that the channel sends to the AUXI bus the AUX2 knob controls the signal level to the AUX2 bus These knobs should generally be set close to the position If you are using stereo channels the signals from the L odd and R even channels are mixed and sent to the AUXI and AUX2 buses These controls allow you to output the signal to the AUX buses regardless of the setting of the ST switch 9 PRE Switch Selects whether the pre fader or the post fader signal is fed to the AUX2 bus If you set the switch on the mixer sends the pre fader signal the signal prior to passage though chan nel fader 2 to the AUX2 bus so that AUX2 output is not affected by the fader If you set the switch off WL the mixer sends the post fader signal to the AUX2 bus Note that this switch applies to AUX2 only The signal to the AUX1 bus always passes through the channel fader first EFFECT Control Adjusts the level of the signal sent from the channel to the EFFECT bus Note that the signal level will also vary accord ing to the setting of the channel fader If you are using stereo channels CHs 9 10 11 12 13 14 15 16 the signals from the L odd and R even channels are mixed and then sent to the EFFECT bus PAN Control CHs 1 to 8 P
4. PFL Switch Set this switch on 9 if you wish to output the effect signal to the PFL bus GROUP Switches 1 2 3 4 Set one or both switches on to output the internal effect signal to the GROUP 1 2 and or GROUP 3 4 buses EFFECT RTN Fader Adjusts the signal level from the internal digital effector to the STEREO bus Front amp Rear Panels Rear Input Output Section 8 INSERT I O 7 INSERT O 6 INSERT I O 5 INSERT I O 4 INSERT I O 3 INSERT I O 2 INSERT 1 0 1 INSERT 1 0 OdBu no l pel E HOH OdBu oa EH D Channel Input Jacks Channel Input Jacks MIC jacks CHs 1 to 8 9 10 11 12 These are unbalanced input jacks Two jack types are provided These are balanced XLR type input jacks phone type CHs 9 10 to 15 16 and RCA pin type CHs 13 14 LINE jacks CHs 1 to 8 15 16 Use these jacks to input stereo signals inputting the L These are balanced phone type input jacks You can connect signal s to the odd numbered channel s and the R signal s to either balanced or unbalanced phone plugs to these jacks the even numbered channel s Where an input channel provides both a MIC jack Where a channel provides both a phone jack and ui and a LINE jack you may use either one of these ui an RCA pin jack you may use either one of these jacks but you may not use both at the same time jacks but you may not use both at the same time Please connect to only one of these
5. 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 unbalanced 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 6FX 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 surround
6. without problem when connecting to bal anced dynamic microphones To avoid damage to speakers be sure to turn off amplifiers or powered speakers before turning this switch on or off MG16 6FX a yr p Front amp Rear Panels Level Meter Signal Switches 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 Switch 1 2 Signal PFL 2TRIN ST GROUP GROUP PFL ON 2TR IN ON a C R OUT ST amp SH PHONES OFF OFF GROUP 1 2 CH E ON GROUP 3 4 ON 1 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 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 Ii then either the Stereo Group 1 2 or Group 3 4 signal is sent to the C R OUT jacks as determined by the ST GROUP and GROUP toggle switches 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
7. To the INSERT I O jack CP Sleeve Tip Sleeve Ring Tip To the output jack of the external processor MG16 6FX 8a 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 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 a
8. YAMAHA MIXING CONSOLE Owner s Manual Gl16 6rx Wl See 3 S dob gest 13 14 vnc consors MIG 16 6 FX 15 66 PEE PROGRAM Bea Brau 2 Brau s room Gras Graes PLATE 3 Dau nevens Evocar eco 1 Vocal ecko 2 PHONES i vocat echo 3 Been ECHO 4 VOCAL REVERB 1 VOCAL REVERE 2 f vocat Revers 3 RETURN E a Fl A i o E o os KC 9 2 o z o 2 ae 9 EFFECT RTN SISTI rom Making the Most Of Your Mixer Pages 6 to 18 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
9. e m eg e Sne a9 E H G o i000 o CI 95 100000 was 8 0G G0 oepoo D GGG o g Sy oggoo 666 e g 088 99 b i e ee e0 1 DI Go 1 eeee eo n LJ eeeee ee0 12 I 66660660 n2 D 6 66eccecc een OZ 6e00 G0 12 e occo eon 1 S q g d eieeesssieer 12 o 2 eieeeeeaieer o D 3 e7666eGc eeu o2 Si 3 G76e66oecceeo o DD I eieeeeesiieer 1 Sy g 01000000000 n eee0e e0 1 2 S 62 6e666 60 1 cdm 01000000 eon o eessen 1 H cr 6 eeeee e0 o2 eieeseaeieer 1 Hl 7 6 eeeee e0 o2 eessen 1 H 01000000000 1 2 S egssssesr E oo r Siessgeseeer n gU rr MG16 6FX 15 ben Tess NEVE PBBVE XS NIVS Terre NIVS Appendix vanes 1S ee ee ee prx GE mam Xy H3 18 100 334 Dese repre fo dodo faim D s x v n rnm Le Lower ten me EFFECT N PFL CTRL PFL R PFL L Aux2 Aus NI Big 198443 HO 1S 193443 HO 1S TABBOF T pur ths 193448 HO EE Tree GEN e een op on ue ee Sp JaiseW 103443 ingore t Z ON3S Xv Va 1 rerb EN LEES 1 a NIH 123443 HES f esuseve Zuse D Leen NI as 1 lu i WD ena nna
10. EE ER Seeeeegeeeee ee 9 9o o9 0990909090909 ee e eoooo0029020290990290 S e 9 eooo00060003039 e QGGOODOGQOGOQDOQODTm 0000000000000 s Do not install the mixer near power amps or other heat generating devices MG16 6FX Appendix B General Specifications Frequency Characteristics ST OUT 20 Hz 20 kHz 1 dB 3 dB 4 dBu 600 o with 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 Hum and Noise 128 dBu Equivalent input noise CHs 1 to 8 100 dBu Residual output noise ST OUT 88 dBu 92 dB S N ST GROUP Master fader at nominal level all Ch assign switches off AUX EFFECT master control at nominal level all channel mix con 381 080 8 dB S N trols at minimum level ST GROUP Master fader and one Ch fader at nominal level 64 dBu 68 dB S N wie 1 to 8 Maximum Voltage Gain 60 dB CH MIC INPUT CH INSERT OUT 84 dB CH MIC INPUT GROUP OUT ST OUT CH to ST 94 dB CH MIC INPUT ST OUT GROUP to ST 62 2 dB CH MIC INPUT gt REC OUT CH to ST 76 dB CH MIC INPUT AUX SEND PRE 86 dB CH MIC INPUT AUX SEND POST EFFECT SEND 58 dB CH LINE INPUT 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 INP
11. T out R in S ground REC OUT L R 600 Q 10 ka 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 100 Q 40 Q phone 3 mW 75 mW Stereo phone jack Where 0 dBu 0 775 V and 0 dBV 1V 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 Since specifications equipment or options may not be the same in every locale please check with your Yamaha dealer European Models Purchaser User Information specified in EN55103 1 and EN55103 2 Inrush Current 6A Conforms to Environments E1 E2 E3 and E4 MG16 6FX 393 Dimensional Diagrams H 108 Unit mm Appendix G22 e e e e e reg b e E
12. 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 EFFECT Sleeve Ground e ing Tip Output INSERT I O Ring Input 1 LIS Sleeve Ground ES 1 Sleeve Tip Tip L PHONES Ring R Sleeve Ground RETURN Tip Hot I LINE INPUT stereo channels Sleeve Ground m Sleeve Tip These jacks will also accept connection to monaural phone plugs If you use monaural plugs the connection will be unbalanced 24 MG16 6FX Kee Setting Up 3 cm Setup Procedure 1 2 Before connecting to microphones and instruments be sure 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 way down For each connection connect one end of the cable to the rele vant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer LINE jacks CHs 1 to 8 MIC jacks CHs 1 to 8 9 10 11 12 Setup Examples Home Recording gt dlo oooocaco Effector a oE Effector Rhythm Machine Fa Where an input channel provides both a MIC jack lt a and a LINE jack you may use either one of these jacks but you may not use both at the same time Please conn
13. 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 000600 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 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
14. 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 6FX introduction Thank you for your purchase of the YAMAHA MG16 6FX 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 this mixer s superlative features and enjoy trouble free operation for years to come e The MG16 6FX provides 16 input channels and mixes the sig Introduction cir teretes et vtt 4 nals into Stereo and Group outputs e With high quality digital effects built in the MG16 6FX can deliver a wide range of sound variations even when used on its CGontents nennen 4 own It also includes an EFFECT SEND jack that can be used to Before Turning on the Mixer 5 connect an external effector Features rtc ie t teen 4 Turning the Power On sseseeese 5 e The monitor includes a convenient C R OUT jack This jack can be used to monitor the main Stereo output the PFL signal or the Making the Most Of Your Mixer 6 Guup sende 0 SE o T A VIP e e The mixer includes dual AUX SEND jacks and a single 1 A Place For Ev
15. 54 dBu 34 dBu 14 dBu ST CH LINE INPUT 1 55 mV 15 5 mV 155 mV CH9 L CH10 R 10 kQ 600 Oo line Phone jack unbalanced CH11 L CH12 R 10 10 dBu 10 dBu 30 dBu s 245 mV 2 45 V 24 5 V ST CH INPUT F 930 dBu 10 dBu 10 dBu Phone jack unbalanced CH13 L CH14 R 10 ka 600 Q line Jes CHTSLCHTe R 24 5 mV 245 mV 2 45 V RCA pin jack Phone jack TRS CH INSERT IN 20 dBu 0 dBu 20 dBu T FUE CHs 1 to 8 10ko 6000lne zeen 0775V 7 75 V best d T out R in 12 dBu 4 dBu 24 dBu Phone jack TRS unbalanced AUX RETURN L Ri 10ko DUU Olne 195 mv 1 23 V 12 3 V T hot S ground 2TR IN L R 10ko 600 aline E fmv EAN RTN RCA pin jack Where 0 dBu 0 775 V and 0 dBV 1 V Input sensitivity the lowest level that will produce the nominal output level when the unit is set to maximum gain B Output Specifications Output Appropriate Max Before iu Output Connectors Impedance Impedance Rated Level Clipping Connector Specifications XLR 3 32 type balanced ST OUT L R 1500 600 2 line 4 dBu 1 23 V 24 dBu 12 3 V Phone jack TRS balanced T hot R cold S ground GROUP OUT 1 4 Phone jack TRS AUX SEND 1 2 1500 10 ko line 4 dBu 1 23 V 20 dBu 7 75 V impedance balanced T hot R cold S EFFECT SEND ground CH INSERT OUT Phone jack TRS CHs 1 to 8 150 2 10 ko line 0 dBu 0 775 V 20 dBu 7 75 V unbalanced
16. 7 Apperidix eit denis 28 Specifications 28 Dimensional Diagrams s e 30 Block Diagram and Level Diagram 31 n MG16 6FX 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 30 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 2 to secure the connection 6 E 3 Plug the power adaptor into a standard household power outlet Be sure to unplug the adaptor from the outlet when AN not using the mixer or when there are lightning adaptor and the mixer storms in the area e To 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 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 6FX a E JURA MG16 6FX An In
17. 9 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 Siemensstra e 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 971 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 Industrial 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 Yama
18. AN BAL Control 9 10 and 11 12 BAL Control 13 14 and 15 16 The PAN control determines the positioning of the channel s signal on the Group 1 2 3 4 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 3 bus or to the Stereo L bus signals into the R input even channel feed to the Group 2 4 bus or the Stereo R bus On channels where this knob provides both PAN and BAL controls 9 10 and 11 12 the knob oper ates 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 20Y MG16 6FX lt gt 2 Channel Fader lt lt 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 lights 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 Switches Use these switches to send the channel s signal to the Group 1 2 and or Group 3 4 buses Setting the switch on causes the signal to be sent to the corresponding gro
19. Accessory Power adaptor PA 30 USA and Canada 120V AC 60 Hz Power Supply Europe 230V AC 50Hz Australia 240V AC 50Hz Korea 220V AC 60 Hz Power Consumption 51W Max Dimensions W xH x D 423 x 108 x 416 6 mm Weight 5 5 kg Where 0 dBu 0 775 V and 0 dBV 1V 1 Rs 150 ohms 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 A Turning PAN BAL to left or right 3 Shelving turnover rolloff frequency 3 dB before maximum cut or boost z MG16 6FX B Input Specifications Appendix Input Appropriate wit Max Before Connector Input Connector Gain Impedance Impedance Sensitivity Rated Level Clipping Specifications en 80 dBu 60 dBu 40 dBu MIC INPUT 0 078 mV 0 775 mV 7 75 mV CHs 1 to 8 3 ko 50 600 Q mic XLR 3 31 type balanced 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 CHs 1 to 8 10 kQ 600 Q line balanced T hot R cold 410 10 dBu 10 dBu 30 dBu S ground 245 mV 2 45 V 24 5 V en 80 dBu 60 dBu 40 dBu ST CH MIC INPUT 0 078 mV 0 775 mV 7 75 mV CH9 L CH10 R 3 ka 50 600 Q mic XLR 3 31 type balanced CH11 L CH12 R 16 36 dBu 16 dBu 10 dBu 12 3 mV 123 mV 245 mV 34
20. FCC INFORMATION U S A 1 IMPORTANT NOTICE DO NOT MODIFY THIS UNIT with FCC regulations does not guarantee that interference will This product when installed as indicated in the instructions con tained in this manual meets FCC requirements Modifications not expressly approved by Yamaha may void your authority granted by the FCC to use the product IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorization to use this product in the USA NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices This equipment generates uses radio frequencies and if not installed and used according to the instructions found in the users manual may cause interference harmful to the operation of other electronic devices Compliance not occur in all installations If this product is found to be the Source of interference which can be determined by turning the unit OFF and ON please try to eliminate the problem by using one of the follo
21. 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 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgef hrten Niederlassung und bei Yamaha Vertragsh ndlern in den jeweiligen Bestimmungsl ndern erh ltlich 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 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 N ringspark 1 N 1345 ster s Norway Tel 67 16 77 70 OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstra e 22 34 25462 Rellingen Germany Tel 4
22. UT GROUP OUT ST OUT ST to ST 47 dB ST CH LINE INPUT gt AUX SEND PRE 57 dB ST CH LINE INPUT AUX SEND POST EFFECT SEND 34 dB ST CH INPUT GROUP OUT ST OUT ST to ST 16 dB AUX RETURN ST OUT 9 dB AUX 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 channels CH INPUT Monaural Input Channel Equalization Max Variation CHs 1 to 8 3 15 dB HIGH 10 kHz shelving MID 0 25 5 kHz peaking LOW 100 Hz shelving Stereo Input Channel Equalization Max Variation CHs 9 10 to 15 16 15 dB HIGH 10 kHz shelving HI MID 3 kHz peaking LO MID 800 Hz peaking LOW 100 Hz shelving Graphic Equalizer 7 band 125 250 500 1 k 2 k 4k 8 k Max Variation 12 dB Internal Digital Effects 16 programs parameter control 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 Stereo L R 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
23. a fire and electrical shock hazard 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 30 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
24. a foreign object or liquid gets inside 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 6FX 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 potentia
25. al 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 rig M s OUT 0600600 Signals from the mixer s other input channels if they are assigned to this master output or bus D B Input Channel MG16 6FX D Head Amp 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 signals are attenuated 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 3 Channel Peak LED amp Fader The channel peak LED is your most valuable tool for setting the input gain control for optimum performance Note that it is located after the head amp and EQ stage B Master Section Summing Amplifier This is where the actual mixing takes place Signals from all of the mixer s input channels are summed mixed together here 5 Master Fader amp Level Meter A stereo mono or bus master fader and the mixer s
26. als cancel each other out Normal phase signal K No signal Phase cancellation d P M Reverse phase signal Pa eae a 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 left intact Clever eh Normal phase signal normal phase noise USUS Desired signal with no noise T Normal phase signal 4 reverse phase noise Pal 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 electroni
27. 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 6FX d 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 personal 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 unti
28. c 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 e Professional audio gear usually has line inputs and outputs with a nominal level of 4 dB You should always feed 10 dB inputs with a 10 dB signal If you feed a 4 dB signal into a 10 dB input you are likely to overload the input You should always feed 4 dB inputs with a 4 dB signal A 10 dB signal is too small for a 4 dB input and will result in less than optimum performance Many professional and semi professional devices have level switches on the inputs and or outputs that let you select 10 or 4 dB Be sure to set these switches to match the level of the connected equipment Inputs that feature a Gain 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 6FX 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 sign
29. cy bands Setting the knob to the w position produces a flat frequency response Turning the knob to the right boosts the corresponding frequency band while turning to the left cuts 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 250 Hz 5 kHz 15 dB variable LOW Shelving 100 Hz Stereo channels CHs 9 10 11 12 13 14 15 16 NES Lj oc m Lj This four band equalizer adjusts the channel s high hi mid Se a Sr a SE D lo mid and low frequency bands Setting the knob to the w 4 position produces a flat frequency response Turning the knob to the right boosts the corresponding frequency band while turning to the left cuts the band The following table shows the EQ type base frequency and maximum cut boost for each of the four bands 1o Lb rar d 15 i20 20 30 30 lii Mi fi Band Type Base Frequency Maximum Cut Boost HIGH Shelving 10 kHz 1 9 10 13 14 HI MID Peaking 3 kHz 15 dB LO MID Peaking 800 Hz
30. dd 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 MG16 6FX 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 supplying the punch and the bass supplying the pitch Once again there are no rules but these are concepts that have been proven to work well 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 5 2 Panning For Clean
31. eceive 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 Connector Polarities 9 REC OUT L R Jacks These are unbalanced RCA pin type output jacks By connect ing these jacks to an external recorder you can record the same signal that is being output from the ST OUT jacks i 2TR IN Jacks These unbalanced RCA pin type input jacks are used to input a The mixer s ST Master Fader does not operate on the signal output from these jacks Be sure to make appropriate level adjustments at the external recording device stereo sound source Use these jacks when you want to connect a stereo sound sources CD or DAT directly to the mixer for monitoring i b POWER Switch Use this switch to set the 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 30 power adaptor see page 5 AN Use only the PA 30 adaptor included with this mixer Use of a different adaptor may result
32. ect to only one of these jacks on each channel 3 To avoid causing damage to speakers power up the devices in the following order Peripheral devices mixer power amps or powered speakers When shutting the system down turn off the power lt u in the opposite order Power amps powered speak ers 2 mixer peripheral devices B 0 Effector EET wo00090 RETURN ap 150 13m wonn E oes fonu Co C OUT OTR IN waa Meo INSERT SS BED g oo emng S o jj Sound Source CD MD DAT cassette video etc Powered Monitor Speakers Master c MD CD R DAT etc mm gg o 0 000000 o GrH o e e E g 9 H E g g H D 4999996 D 1f090 9909096 Headphones 0g099e9 9ee9ee Se 0g0969 999e9ee oo D nlfoee oo D aloes C T ijo000009090 0 D OO Di 1Jce0 099906 D nfoee eeoeooc MG16 6FX a Setting Up B Sound Reinforcement for Live Performance Monitor Speakers Internal IE VION Effector Se Oo HE H Microphones
33. ed 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 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 MG16 6FX 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 sign
34. ency 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 high 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 clu
35. ency 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 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 6FX 5 5 Built in Effects amp EQ Your MG mixer features a high performance inter nal effect system and graphic equalizer that offers extraordinary sound processing power and versa tility without the need for external equipment The internal DSP Digital Signal Processor lets you individually add reverb and delay to each channel in the same way that you can with an external effect unit but you don t need to wire up any extra gear and won t suffer the signal quality loss that exte
36. er 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 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 together or even right on top of one another to emphasize their relationship There are no hard and fast rules Normally but this is not a rule bass and lead vocals will be panned to center as will the kick drum if the drums are in stereo 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 frequ
37. erything and Everything RETURN jack The two independent AUX buses may be used as Ints Place eire IR 7 sends to external effectors and monitor systems 2 Where Your Signal Goes Once It s Inside e Phantom power supply enables easy connection to condenser the BOX see iced td coetus 10 microphones that run on external power 3 The First Steps in Achieving Great Sound 11 e The mixer provides channel specific INSERT I O jacks for input channels 1 to 8 These jacks make it possible to insert different 4 External Effects Monitor Mixes effectors into different channels and Groups Vies evei dee eg aa va dee Ee 13 e Input channels 1 to 8 9 10 and 11 12 are each equipped with 5 Making Better Mixes suusssess 16 both an XLR mic input jack and a TRS phone type line jack Input channels 13 14 and 15 16 are each equipped with both a Front amp Rear Panels esses 19 TRS line input jack and an RCA line input jack This wide PE ena comes toan b dile Channel Control Section sss 19 devices from microphones to line level devices to stereo output Master Control Section ssssuusse 21 EE Rear Input Output Section 23 Setting Up e a 25 Setup Procedure sssssesseeeee 25 Setup Examples ssssesss 25 Rack Mounting eeeeenene 2
38. ha 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 Manual Library http www2 yamaha co jp manual english U R G Pro Audio amp Digital Musical Instrument Division Yamaha Corporation 2003 Yamaha Corporation V981750 312CRCR1 3 07C0 Printed in China
39. jacks on each Please connect to only of these jacks on each channel channel The phone type jacks for CH9 10 and 11 12 also support monaural input Specifically if you input INSERT I O Jacks These are unbalanced phone type input output jacks Each of only into the L MONO jack of either pair while these jacks is positioned between the equalizer and fader of the leaving the R jack empty the mixer will propa corresponding input channel CHs 1 to 8 These jacks can be gate the same signal through both the L MONO used to independently connect these channels to devices such and R inputs as graphic equalizers compressors and noise filters These are TRS tip ring sleeve phone jacks that support bidirectional GROUP OUT 1 to 4 Jacks operation These are impedance balanced phone type output jacks that output the Group 1 2 3 4 signals Use these jacks to connect to Connection toran INSERT VO jack requires a spe the input jacks of an MTR external mixer or other such cial separately sold insertion cable such as illus trated below device ST OUT L R Jacks These jacks output the mixed signal whose level is adjusted by To the input jack of the external processor To the INSERT I O jack S L and R You use these jacks for example to connect to the Sleeve Tip power amplifier driving your main speakers XLR jacks Sleeve Ring Tip To the output jack of the external processor XLR type balanced ou
40. l fire hazard Precautions For correct operation Connector pin assignments Interference from Cell Phones e XLR type connectors are wired as follows e Use of a mobile phone near this unit may induce noise If noise Pin 1 ground Pin 2 hot Pin 3 cold occurs move the phone further from the unit e INSERT TRS phone jacks are wired as follows Sleeve ground Tip send Ring return Replacement of Consumable Parts e The performance of components with movable contacts such as switches rotary controls faders and connectors deteriorates over time While the rate of wear may vary greatly according to usage conditions some amount of wear is unavoidable When parts wear out consult your dealer about appropriate replace ments 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 commercially available music data and or digital audio files except for personal use is strictly prohibited Illustrations in this manual are for explanatory purposes only and may not match the actual appearance of the product during operation Company names and product names used in this Owner s Manual are trademarks or registered trademarks of their respective owners
41. l 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 6FX Making the Most Of Your Mixer 4 External Effects Monitor Mixes and Groups 4 1 AUX Buses For Monitor Sends and Pre Post What s the difference Overall E fects 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
42. lez 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 Rebou as 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 Calle 47 y Aquilino de la Guardia Ciudad de Panam Panam Tel 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 Siemensstra e 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
43. point corresponds to the standard output level The indicator lights up red when the out put hits the clipping level a POWER Indicator This indicator lights up when the mixer s power is ON 2 ST GRAPHIC EQUALIZER This 7 band equalizer adjusts the sound of the signal send to the ST OUT jacks The equalizer is effective only if the GEQ switch is set on The equalizer cuts or boosts each band 125 250 500 1k 2k 4k and 8k Hz over a range of 12 dB 22Y MG16 6FX lt gt d3 PHONES Jack Connector for headphones This is a balanced stereo phone type output jack The signal monitored by these jacks is selected by the Level Meter Signal switches and the channel PFL switches DIGITAL EFFECT PROGRAM Dial Selects the internal digital effect to be applied You can select from 16 effects as shown in the table I HALL 1 VOCAL ECHO 1 M HALL 2 VOCAL ECHO 2 EM HALL 3 VOCAL ECHO 3 ER ROOM VOCAL ECHO 4 5 PLATE 1 13 VOCAL REVERB 1 6 PLATE 2 14 VOCAL REVERB 2 7 PLATES 15 VOCAL REVERB 3 8 GATE REVERB 16 VOCAL REVERB A PARAMETER Control Adjusts the parameter depth effect AUX1 and AUX2 Controls speed etc for the selected Adjust the level of the signal sent from the internal digital effector to the AUX1 and AUX2 buses ON Switch Switches use of the internal effect on or off The internal effect is applied only if this switch is turned on
44. rnal connections sometimes entail The graphic equalizer is ideal for shaping the response of the overall mix and for minimiz ing feedback in live situations For details see page 22 d ee ve m es Front amp Rear Panels s D GAIN Control Channel Control Section 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 Channels Channels Channels 1108 9 10 and 11 12 13 14 and 15 16 The 60 to 16 scale indicates the MIC input adjustment level Monaural Stereo Stereo The 34 to 10 scale indicates the LINE input adjustment level PEAK Indicator Detects the peak level of the post equalizer signal and lights up red when the level reaches 3 dB below the clipping level On stereo input channels equipped with XLR jacks CHs 9 10 and 11 12 detects both the post equalizer and post mic amp peak levels and lights up 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 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 Monaural CHs 1 to 8 This three band equalizer adjusts the channel s high mid and low frequen
45. shed 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 O U P B Stereo U Master S Fader MAIN PROGRAM BUS MG16 6FX 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 can 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
46. 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 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 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 e
47. tput jacks The signal output from the INSERT I O jacks is reverse phased This will not be a problem if con Phone jacks TRS phone type balanced output jacks 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 the ST fader in the Master Control section Output is in stereo MG16 6FX ea La Front amp Rear Panels C R OUT Jacks These are impedance balanced phone type output jacks These jacks output the mixed signal whose level is adjusted by the C R PHONES control Output is in stereo L and R These jacks are typically used to connect to a monitor system lt gt SEND Jacks AUX1 AUX2 These are impedance balanced phone type output jacks These jacks output the signal from AUX1 and AUX2 respec tively You use these jacks for example to connect to an The signal monitored by these jacks is selected by the Level Meter Signal switches and the channel PFL switches effector or to a cue box or other such monitoring system EFFECT This is an impedance balanced phone type output jack that outputs the signal from the EFFECT bus You use this jack for example to connect to an external effector RETURN L MONO R Jacks These are unbalanced phone type 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 r
48. tput to the AUX1 SEND and AUX2 SEND jacks Master EFFECT Control Adjusts the level of the signal on the EFFECT bus This is the signal that is output through the EFFECT jack These Master SEND controls do not affect the level ui of the signal sent from the internal digital effector onto the Master EFFECT bus RETURN AUX1 AUX2 and ST Controls AUX1 and AUX 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 Adjusts 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 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 448 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 MIC input jacks CHs 1 8 9 10 11 12 Set this switch on when using one or more condenser microphones When this switch is on the mixer supplies DC 48 V power to pins 2 and 3 of all XLR type jacks Be sure to leave this switch off Ili 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 m But note that the switch may be left on
49. troduction 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 4 o 0000 l m E19 EE f 24 I U d J r W 2 2 ass 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 audio 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
50. ttering up the mix rather than trying to boost the mix into clarity One of the biggest problems with too much boost is that it adds gain to the signal increasing noise and potentially overloading the subsequent cir cuitry MG16 6FX Making the Most Of Your Mixer 5 3 To EQ Or Not To EQ Making the Most Of Your Mixer 5 4 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 mean the difference between great and merely average sound The reverb time you choose will depend to a great degree on the tempo and density of the mix at hand Slower tempos and lower 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 frequ
51. up buses These switches allow you to assign the signal to either or both groups regardless of the setting of the ST switch 9 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 channels all the way down Master Control Section PROGRAM Ha 1 HALL 2 BHuat 3 m E Room d3 S PLATE 1 S PLATE 2 a PLATE 3 PHONES 8lGATE REVERB E VOCAL ECHO 1 VOCAL ECHO 2 VOCAL ECHO 3 ST GRAPHIC EQUALIZER TE VOCAL ECHO 4 250 500 1K 2K ak 8K AMA A A A A VOCAL REVERB 1 B3 vocAL rever 2 L PS E ES VOCAL REVERB 3 6 _ L1 fis VOCAL REVERB 4 o H H H al Esch e BE L I 100 f EU 1 OO e Ww S 250 500 amp ei ST Master Fader Adjusts the signal level to the ST OUT jacks GROUP Faders 1 2 3 4 Adjust the signal level to the GROUP OUT 1 to 4 jacks gt 4 Front amp Rear Panels 8 TO ST Switch If this switch is on the mixer sends the signals processed by the GROUP faders onto the Stereo bus The Group 1 3 signal go to Stereo L and the Group 2 4 signal go to Stereo R Master SEND AUX1 and AUX2 Controls Adjust the level of the signal ou
52. wing measures Relocate either this product or the device that is being affected by the interference Utilize power outlets that are on different branch circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective measures do not produce satisfactory results please contact the local retailer authorized to distribute this type of product If you can not locate the appropriate retailer please contact Yamaha Corporation of America Electronic Service Divi sion 6600 Orangethorpe Ave Buena Park CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries This applies only to products distributed by YAMAHA CORPORATION OF AMERICA class B IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord IMPORTANT The wires in this mains lead are coloured in accordance with the following code BLUE NEUTRAL BROWN LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK The wire which is coloured BROWN must be connected to the terminal which is marked
53. xample 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 6FX 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 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 rali Once the mix between the channels assigned to p Fader the group is establi
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