MG16-6FX.
MG16-6FX.book Page 2 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 3 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 4 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 5 Saturday, January 25, 2003 10:13 AM Introduction Before Turning on the Mixer (1) Be sure that the mixer’s power switch is in the STANDBY position. Use only the PA-30 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.
MG16-6FX.book Page 6 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 7 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 8 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 9 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 10 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 11 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 12 Saturday, January 25, 2003 10:13 AM Making the Most Of Your Mixer 3-2.
MG16-6FX.book Page 13 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 14 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 15 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 16 Saturday, January 25, 2003 10:13 AM 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.
MG16-6FX.book Page 17 Saturday, January 25, 2003 10:13 AM Making the Most Of Your Mixer 5-2. 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.
MG16-6FX.book Page 18 Saturday, January 25, 2003 10:13 AM 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 capabilities, but most offer some means of adjusting the reverb time.
MG16-6FX.fm Page 19 Friday, June 27, 2003 4:08 PM Front & Rear Panels 1 GAIN Control Channel Control Section Channels 1 to 8 (Monaural) Channels 9/10 and 11/12 (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. Channels 13/14 and 15/16 (Stereo) The –60 to –16 scale indicates the MIC-input adjustment level.
MG16-6FX.book Page 20 Saturday, January 25, 2003 10:13 AM Front & Rear Panels 5 AUX1 and AUX2 Controls The AUX1 knob controls the signal level that the channel sends to the AUX1 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 AUX1 and AUX2 buses.
MG16-6FX.fm Page 21 Thursday, December 11, 2003 9:15 AM Front & Rear Panels 3 TO ST Switch Master Control Section If this switch is on ( ), the mixer sends the signals processed by the GROUP faders (2) onto the Stereo bus. The Group 1/3 signal go to Stereo L and the Group 2/4 signal go to Stereo R. 4 Master SEND C B 7 A 0 D 5 4 9 6 3 8 • AUX1 and AUX2 Controls Adjust the level of the signal output to the AUX1 SEND and AUX2 SEND jacks.
MG16-6FX.book Page 22 Saturday, January 25, 2003 10:13 AM Front & Rear Panels 8 Level-Meter Signal Switches C PHONES Jack 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. Connector for headphones. This is a balanced stereo phone-type output jack. NOTE The following illustration shows how the switch settings correspond to the signal selection.
MG16-6FX.fm Page 23 Wednesday, January 29, 2003 6:04 PM Front & Rear Panels Rear Input/Output Section A 6 7 8 0 B 5 9 3 4 1 1 Channel Input Jacks 3 Channel Input Jacks • MIC jacks (CHs 1 to 8, 9/10, 11/12) These are balanced XLR-type input jacks. • LINE jacks (CHs 1 to 8) These are balanced phone-type input jacks. You can connect either balanced or unbalanced phone plugs to these jacks.
MG16-6FX.fm Page 24 Wednesday, January 29, 2003 6:04 PM Front & Rear Panels 6 C-R OUT Jacks 9 REC OUT (L, R) 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. NOTE The signal monitored by these jacks is selected by the Level-Meter Signal switches and the channel PFL switches.
MG16-6FX.book Page 25 Saturday, January 25, 2003 10:13 AM Setting Up Setup Procedure NOTE (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 LINE or MIC jack on the mixer. (LINE jacks: CHs 1 to 8.
MG16-6FX.
MG16-6FX.book Page 27 Saturday, January 25, 2003 10:13 AM Setting Up Rack Mounting ■ 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. NOTE 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.
MG16-6FX.fm Page 28 Friday, June 27, 2003 4:09 PM Appendix Specifications ■ General Specifications Frequency Characteristics (ST OUT) Total Harmonic Distortion (ST OUT) Hum and Noise 1 Maximum Voltage Gain 2 Monaural/Stereo Input Gain Control Monaural/Stereo High Pass Filter Crosstalk (1 kHz) Monaural Input Channel Equalization: Max. Variation (CHs 1 to 8) 3 Stereo Input Channel Equalization: Max.
MG16-6FX.fm Page 29 Friday, June 27, 2003 4:09 PM Appendix ■ Input Specifications Input Connector Rated Level Max. Before Clipping –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –16 –36 dBu (12.3 mV) –16 dBu (123 mV) +4 dBu (1.23 V) –34 –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) –60 –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) –16 –36 dBu (12.
MG16-6FX.book Page 30 Saturday, January 25, 2003 10:13 AM Appendix Dimensional Diagrams 393 H 108 101.3 309.6 D 416.6 3 W 423 31.5 27.
MG16-6FX.
MG16-6FX.fm Page 32 Thursday, December 11, 2003 9:16 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.
