MG10_E.
MG10_E.book Page 2 Monday, May 26, 2003 1:52 PM Precautions —For safe operation— 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.
MG10_E.book Page 3 Monday, May 26, 2003 1:52 PM Precautions —For correct operation — Connector pin assignments ● ● Interference from Cell Phones XLR-type connectors are wired as follows Pin 1: ground; Pin 2: hot (+); Pin 3: cold (–). INSERT TRS phone jacks are wired as follows Sleeve: ground; Tip: send; Ring: return. ● Use of a mobile phone near this unit may induce noise. If noise occurs, move the phone further from the unit.
MG10_E.book Page 4 Monday, May 26, 2003 1:52 PM Introduction Thank you for your purchase of the YAMAHA MG10/2 mixing console. This mixing console combines ease of operation with support for multiple usage environments. 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.
MG10_E.book Page 5 Monday, May 26, 2003 1:52 PM Introduction Before Turning on the Mixer (1) Be sure that the mixer’s power switch is in the STANDBY position. Use only the PA-10 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or fire. (2) Connect the power adaptor to the AC ADAPTOR IN connector ( 1) on the rear of the mixer, and then turn the fastening ring clockwise ( 2) to secure the connection.
MG10_E.book Page 6 Monday, May 26, 2003 1:52 PM 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.
MG10_E.book Page 7 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer 1 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.
MG10_E.book Page 8 Monday, May 26, 2003 1:52 PM 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.
MG10_E.book Page 9 Monday, May 26, 2003 1:52 PM 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.
MG10_E.book Page 10 Monday, May 26, 2003 1:52 PM 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.
MG10_E.book Page 11 Monday, May 26, 2003 1:52 PM 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.
MG10_E.book Page 12 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer 3-2.
MG10_E.book Page 13 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer 4 External Effects and Monitor Mixes 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.
MG10_E.book Page 14 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer 4-2. 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.
MG10_E.book Page 15 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer 5 Making Better Mixes 5-1. Approaching the Mix—Where Do You Start? Mixing is easy, right? Just twiddle 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.
MG10_E.book Page 16 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer Spread them Out! Position your instruments so they have room to “breathe,” and connect in the most musical way with other instruments. Sometimes, however, you’ll want to deliberately pan sounds close together, or even right on top of one another, to emphasize their relationship. There are no hardand-fast rules.
MG10_E.book Page 17 Monday, May 26, 2003 1:52 PM Front & Rear Panels Channel Control Section Channels 1 and 2 (Monaural) Channels 3/4 and 5/6 (Stereo) Channels 7/8 and 9/10 (Stereo) 1 3 2 4 Equalizer (HIGH, MID, and LOW) This three-band equalizer adjusts the channel’s high, mid, and low frequency bands. Setting the knob to the ▼ position produces a flat frequency response. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band.
MG10.fm Page 18 Thursday, December 11, 2003 9:23 AM Front & Rear Panels 2 RETURN Control Master Control Section Adjusts the level of the signal sent from the RETURN jacks (L (MONO) and R) to the Stereo bus. NOTE If you supply a signal to the RETURN L (MONO) jack only, the mixer outputs the identical signal to both the L and R Stereo buses. 3 2TR IN Control Adjusts the level of the signal sent from the 2TR IN jack to the Stereo bus.
Front & Rear Panels Input/Output Section 1 3 2 • MIC jacks These are balanced XLR-type input jacks (1:Ground; 2:Hot; 3:Cold). • LINE jacks These are balanced phone-type input jacks. You can connect either balanced or unbalanced phone plugs to these jacks. Where an input channel provides both a MIC jack and a LINE 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 8 SEND Jacks • AUX1, AUX2 These are impedance balanced phone-type output jacks. These jacks output the signals from AUX1 and AUX2, respectively. You use these jacks, for example, to connect to an effector or monitor system. 9 RETURN L (MONO), R Jacks These are unbalanced phone-type input jacks. The signal received by these jacks is sent to the Stereo bus. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.).
MG10_E.book Page 21 Monday, May 26, 2003 1:52 PM 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 channel controls and all of the controls in the Master Control section are turned to their minimum settings. (2) For each connection, connect one end of the cable to the relevant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer.
Setting Up Mounting to a Microphone Stand • When using the mixer on a microphone stand, be sure to set the stand on a level and stable surface. Do not set up the stand in locations subject to vibrations or wind. • Note that mixer may be damaged if the stand should fall over. Attach the connection cables carefully so that the cables will not catch on the equipment and cause it to fall. For example: arrange the cables so that they run parallel with the microphone pole down to the base of the stand.
MG10.fm Page 23 Thursday, July 3, 2003 5:10 PM Appendix Specifications ■ General Specifications Frequency Characteristics (ST OUT) Total Harmonic Distortion (ST OUT) Hum and Noise1 Maximum Voltage Gain2 Monaural/Stereo Input Gain Control Monaural/Stereo High Pass Filter Crosstalk (1 kHz) Monaural/Stereo Input Channel Equalization: Max. Variation3 Monaural/Stereo Input Peak Indicator Level Meters Phantom +48 VDC Power (Balanced input) Included Accessory Option Power Supply Power Consumption Max.
MG10_E.book Page 24 Monday, May 26, 2003 1:52 PM Appendix ■ Input Specifications Input Connector Rated Level Max. Before Clipping –72 dBu (0.195 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –16 –28 dBu (30.9 mV) –16 dBu (123 mV) +4 dBu (1.23 V) –34 –46 dBu (3.88 mV) –34 dBu (15.5 mV) –14 dBu (155 mV) +10 –2 dBu (0.616 V) +10 dBu (2.45 V) +30 dBu (24.5 V) –60 –72 dBu (0.195 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –16 –28 dBu (30.9 mV) –16 dBu (123 mV) –10 dBu (245 mV) –34 –46 dBu (3.
MG10_E.book Page 25 Monday, May 26, 2003 1:52 PM Appendix Dimensional Diagrams 65 290.
MG10_E.
PA09.fm Page 27 Thursday, December 11, 2003 9:24 AM For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
Hyo4.fm Page 28 Thursday, December 11, 2003 9:24 AM Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2003 Yamaha Corporation WA03930 312CRCR1.