Yamaha 12/4 manual

MIXING CONSOLE Owner’ s Manual MG16/4 MG12/4 Making the Most Of Y our Mixer Pages 6 to 17 E[...]

MG16/4, MG12/4 2 Precautions — For safe operation — W ARNING ● Connect this unit’ s AC po wer adaptor only to an A C 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 w ater to enter this unit or allow the unit to become wet. Fire or electr[...]

Precautions MG16/4, MG12/4 3 — For correct operation — ● XLR-type connectors are wired as follows: pin 1: ground, pin 2: hot (+), and pin 3: cold (–). ● Insert TRS phone jacks are wired as follo ws: slee ve: ground, tip: send, and ring: return. ● The performance of components with moving contacts, such switches, rotary controls, faders,[...]

MG16/4, MG12/4 4 Intr oduction Thank you f or y our purchase of the Y AMAHA MG16/4 or MG12/4 mixing console. This mixing console combines ease of operation with suppor t f or multiple usage environments , and is ideal f or SR setups, installed systems, and man y other such applications. Please read through this Owner’ s Manual carefully bef ore b[...]

Introduction MG16/4, MG12/4 5 (1) Be sure that the mixer’ s power switch is in the ST ANDBY position. Use only the P A-20 adaptor included with this mixer . Use of a different adaptor may result in equipment damage, overheating, or fire. ( 2 ) Connect the po wer adaptor to the A C AD APT OR IN con- nector ( 1 ) on the rear of the mixer , and the[...]

MG16/4, MG12/4 6 Making the Most Of Y our Mix er An Introduction Y ou’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? W ell, 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 rea[...]

Making the Most Of Your Mixer MG16/4, MG12/4 7 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 differenc[...]

Making the Most Of Your Mixer MG16/4, MG12/4 8 1-2. Balanced, Unbalanced—What’ s the Dif ference? In a word: “noise.” The whole point of balanced lines is noise rejection, and it’ s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: [...]

Making the Most Of Your Mixer MG16/4, MG12/4 9 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 pressu[...]

Making the Most Of Your Mixer MG16/4, MG12/4 10 Where Y our 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 ge[...]

Making the Most Of Your Mixer MG16/4, MG12/4 11 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[...]

Making the Most Of Your Mixer MG16/4, MG12/4 12 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! Althou[...]

Making the Most Of Your Mixer MG16/4, MG12/4 13 External Ef fects, Monitor Mixes, and Groups 4-1. AUX Buses For Monitor Sends and Overall Ef 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 se[...]

Making the Most Of Your Mixer MG16/4, MG12/4 14 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[...]

Making the Most Of Your Mixer MG16/4, MG12/4 15 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 [...]

Making the Most Of Your Mixer MG16/4, MG12/4 16 Making Better Mixes 5-1. Approaching the Mix—Where Do Y ou Start? Mixing is easy , right? Just move the faders around until it sounds right? W ell, 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 . Th[...]

Making the Most Of Your Mixer MG16/4, MG12/4 17 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 [...]

MG16/4, MG12/4 18 Fr ont & Rear P anels Note: Within this manual, all panel illustrations sho w the MG16/4 panel. 1 GAIN Control Adjusts the input signal lev el. T o get the best balance between the S/N ratio and the dynamic range, adjust the lev el so that the peak indicator ( 2 ) comes on only at about maximum input lev el. The –60 to –16[...]

Front & Rear Panels MG16/4, MG12/4 19 6 PRE Switch Selects whether the pre-fader or the post-fader signal is fed to the A UX1 bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage though channel fader A ) to the A UX1 bus, so that A UX1 output is not affected by the fader . If you set the switch of[...]

Front & Rear Panels MG16/4, MG12/4 20 1 ST Master Fader Adjusts the signal lev el to the ST OUT jacks. 2 GROUP 1-2 F ader Adjusts the signal lev el to the GROUP OUT 1 and GR OUP OUT 2 jacks. 3 T O ST Switch If this switch is on ( ), the mixer sends the signals processed by the GR OUP 1-2 fader ( 2 ) onto the Stereo bus. The Group 1 signal goes [...]

Front & Rear Panels MG16/4, MG12/4 21 8 Level-Meter Signal Switc hes (ST -GROUP T oggle Switch and 2TR IN Switch) These lev el-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 lev el meter . The following illustration sho ws how t[...]

Front & Rear Panels MG16/4, MG12/4 22 1 Channel Input jacks • MIC jacks (MG16/4: CHs 1 to 8, 9/10, 11/12. MG12/4: CHs 1 to 4, 5/6, 7/8) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). • LINE jacks (MG16/4: CHs 1 to 8. MG12/4: CHs 1 to 4) These are balanced TRS phone-type line input jacks (T : Hot; R: Cold; S: G[...]

Front & Rear Panels MG16/4, MG12/4 23 8 RETURN L (MONO), R Jacks These are unbalanced phone-type line input jacks. The signal receiv ed by these jacks is sent to the Stereo bus and the A UX1 and A UX2 buses. These jacks are typically used to recei ve a return signal from an external ef fector (reverb, delay , etc.). These jacks can also be used[...]

MG16/4, MG12/4 24 Setting Up (1) Before connecting to microphones and instruments, be sure that all devices are turned of f. Also be sure that all of the mixer’ s channel faders and master control faders are set all the way do wn. (2) For each connection, connect one end of the cable to the rele- vant microphone or instrument and connect the othe[...]

Setting Up MG16/4, MG12/4 25 ■ Sound Reinfor cement for Live P erformance ( ) ST AUX 1 ( PRE ) ST DI DI Microphones Monitor Speakers (Internal) P ower Amp Effector Synthesizer Effector Bass Guitar CD , Cassette, or D A T Recorder Microphones Headphones Guitar Main Speakers (External) Example of Speaker Arrangement Audience (External) Stage (Inter[...]

Setting Up MG16/4, MG12/4 26 ■ Mounting the MG16/4 (1) T wo metal rack-mount supports are screwed onto the unit. Use a screwdri ver to remov e these supports. (2) T urn 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 y ou may mo ve the left support[...]

MG16/4, MG12/4 27 Appendix ■ General Speci fi cations Where 0 dBu = 0.775 V and 0 dBV = 1 V 1 Measured with 12.7 kHz, – 6 dB/oct. low pass fi lter (equivalent to 20 kHz, – ∞ fi lter). (CH MIC INPUT to ST , GROUP OUT/A UX, EFFECT SEND) 2 T ur ning P AN/BAL to left or right. 3 Shelving turnover/rolloff frequency: 3 dB before maximum cut or[...]

Appendix MG16/4, MG12/4 28 ■ Input Speci fi cations Where 0 dBu = 0.775 V and 0 dBV= 1 V * Input sensitivity: the lowest le vel that will produce the nominal output le vel when the unit is set to maximum gain. ■ Output Speci fi cations Where 0 dBu = 0.775 V and 0 dBV= 1 V Specifications and descriptions in this owner’ s manual are for info[...]

Appendix MG16/4, MG12/4 29 ■ MG16/4 ■ MG12/4 Dimensional Diagrams 393 31.5 309.6 D 416.6 H 108 101.3 3 W 423 428 27.5 480 When mounted on rack 317.4 D 416.6 325.6 102.6 2 H 108 W 322 480 322 When mounted on rack[...]

Appendix MG16/4, MG12/4 30 Block Diagram and Level Diagram[...]

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M.D .G., Pro Audio & Digital Musical Instrument Division, Y amaha Corporation © 2002 Y amaha Corporation V981800 210CRCR5.3-01A0 Printed in China Y amaha Manual Library http://www2.yamaha.co .jp/manual/english/[...]