MIXING MIXING CONSOLE CONSOLE Owner’s Manual Making the Most Of Your Mixer Pages 6 to 16 EN
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the device.
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (–). Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return. Yamaha cannot be held responsible for damage caused by improper use or modifications to the device. Always turn the power off when the device is not in use. Even when the power switch is in the “STANDBY” position, electricity is still flowing to the device at the minimum level.
Introduction Introduction Thank you for your purchase of the YAMAHA MG12/4FX mixing console. The MG12/4FX features input channels suitable for a wide range of usage environments, and includes high-quality built-in digital effects that can provide some very serious sound. The mixer combines ease of operation with support for multiple usage environments.
Introduction Before Turning on the Mixer Turning the Power On 1 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. Be sure that the mixer’s power switch is in the STANDBY position. Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or fire. 2 Note that trace current continues to flow while the switch is in the STANDBY position.
Making the Most Of Your Mixer Making the Most Of Your Mixer ■ 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. 1.
Making the Most Of Your Mixer ■ The Sturdy XLR Male This type of connector is generally referred to as “XLR-type,” and almost always carries a balanced signal. If the corresponding circuitry is designed properly, however, XLR-type connectors will also handle unbalanced signals with no problem. Microphone cables usually have this type of connector, as do the inputs and outputs of most professional audio gear. Female 1-2. Balanced, Unbalanced—What’s the Difference? In a word: “noise.
Making the Most Of Your Mixer A balanced cable has three conductors: 1) 2) 3) A ground conductor which carries no signal, just the “ground” or “0” reference against which the signal in the other conductors fluctuates. A “hot” or “+” conductor which carries the normal-phase audio signal. A “cold” or “–” conductor which carries the reverse-phase audio signal.
Making the Most Of Your Mixer 2. 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.
Making the Most Of Your Mixer 3. 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.
Making the Most Of Your Mixer 3-2.
Making the Most Of Your Mixer 4. External Effects, Monitor Mixes, and Groups 4-1. AUX Buses For Monitor Sends and 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.
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.
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 signal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding channel.
Making the Most Of Your Mixer 5. 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.
Making the Most Of Your Mixer ■ Spread them Out! 5-4. Ambience 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.
Front & Rear Panels Front & Rear Panels Channel Control Section 1 GAIN Control Channels 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Adjusts the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the level so that the PEAK indicator (2) comes on only at about maximum input level. The –60 to –16 scale indicates the MIC input adjustment level. The –34 to +10 scale indicates the LINE input adjustment level.
Front & Rear Panels 6 PRE Switch Selects whether the pre-fader or the post-fader signal is fed to the AUX bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage through channel fader B) to the AUX bus, so that AUX output is not affected by the fader. If you set the switch off ( ) the mixer sends the post-fader signal to the AUX bus. 7 EFFECT Controls Adjusts the level of the signal sent from the channel to the EFFECT bus.
Front & Rear Panels Master Control Section 4 Master SEND B • Master AUX Control Adjusts the signal level to the corresponding AUX SEND jack. 7 6 A • 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 of the signal sent from the EFFECT bus to the internal digital effector.
Front & Rear Panels 8 Level-Meter Signal Switches (ST-GROUP Toggle Switch and 2TR IN Switch) These level-meter switches, together with the channel PFL switches, select the signal that is sent through the C-R/PHONES control to the C-R OUT jacks, the PHONES jack, and the level meter The following illustration shows how the switch settings correspond to the signal selection.
Front & Rear Panels Rear Input/Output Section B6 7 C 8 9 5 0 4 1 Channel Input Jacks • LINE jacks (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.
Front & Rear Panels 7 SEND Jacks 0 2TR IN Jacks • AUX This is an impedance balanced phone-type output jack. This jack outputs the signals from AUX bus, respectively. You use this jack, for example, to connect to an 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.
Setting Up Setting Up Setup Procedure 1 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. 2 For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate input jack on the mixer.
Setting Up ■ Sound Reinforcement for Live Performance Monitor Speakers (Internal) Drums Microphones Power Amp Effector ( DI Synthesizer CD, Cassette, or DAT Recorder Bass ) CD Player Effector Power Amp Foot Switch (YAMAHA FC5) Microphones Headphones Guitar Main Speakers (External) Example of Speaker Arrangement Stage (Internal) ST 24 MG12/4FX AUX (PRE ) Audience (External) ST
Setting Up Rack Mounting ■ Mounting the MG12/4FX 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. Do not install the mixer near power amps or other heat-generating devices.
Appendix Appendix Specifications ■ Electrical Characteristics Total Harmonic Distortion (MIC to ST OUT) Frequency Response (MIC to ST OUT) Hum & Noise (20 Hz-20 kHz) Rs=150 ohms, Gain=Maximum, Sensitivity =–60 dBu, Hum & Noise are measured with a –6 dB/octave filter @12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation. Maximum Voltage Gain PAN/BAL : panned hard left or hard right.
Appendix ■ Input Specifications Input Connector Gain Input Impedance Appropriate Impedance Sensitivity* Nominal Level Max. Before Clipping –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –36 dBu (12.3 mV) –16 dBu (123 mV) +4 dBu (1.23 V) –54 dBu (1.55 mV) –34 dBu (15.5 mV) –14 dBu (155 mV) +10 –10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) ST CH MIC INPUT (CH5(L)/CH6(R), CH7(L)/CH8(R)) –60 –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –36 dBu (12.
Appendix Dimensional Diagrams 108 102.6 322 2 325.6 416.6 317.
Appendix Block Diagram and Level Diagram MG12/4FX 29
MEMO 30 MG12/4FX
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