Yamaha MG206c-USB Owner`s manual

English
Caractéristiques
Input Channels...................................................................page 12
With up to 16 (MG166CX/MG166C: 10) mic/line inputs or up to four
stereo inputs, the MG mixer can simultaneously connect to a wide
range of devices: microphones, line-level devices, stereo
synthesizers, and more.
Canaux d’entrée.................................................................page 48
Avec 16 entrées micro/ligne (MG166CX/MG166C: 10) ou quatre
entrées stéréo maximum, la console de mixage MG peut connecter
simultanément une grande variété d’appareils : micros, appareils
de ligne, synthétiseurs stéréo, etc.
Compression......................................................................page 10
Compression increases the overall level without introducing
distortion by compressing excessive peaks in the signals from
microphones and guitars.
Compression......................................................................page 46
La compression augmente le niveau général sans engendrer de
distorsion en comprimant les pics excessifs des signaux des
micros et des guitares.
AUX Sends and Stereo AUX Return.................................page 16
You can use the AUX SEND jack to feed the signal sent to an
external signal processor, and then return the processed stereo
signal through the RETURN jack.
Envois AUX et retour AUX stéréo.....................................page 52
Vous pouvez utiliser la prise jack AUX SEND pour envoyer le signal
vers une unité de traitement de signaux externes, puis pour
renvoyer le signal stéréo traité via la prise jack RETURN.
High-quality digital effects (MG166CX)....................pages 15, 19
With digital effects built in, the MG166CX can deliver a wide range
of sound variations all by itself.
Effets numériques de qualité supérieure (MG166CX)...pages 51, 55
Grâce aux effets numériques intégrés, la console MG166CX peut
proposer de nombreuses variations de sons.
Funktionen
Características
Eingangskanäle..................................................................Seite 30
Mit bis zu 16 Mikrofon-/Line-Eingängen (MG166CX/MG166C: 10)
oder bis zu vier Stereoeingängen können viele Geräte gleichzeitig
am MG-Mischpult angeschlossen werden: Mikrofone, Geräte mit
Leitungspegel, Stereo-Synthesizer uvm.
Canales de entrada.........................................................página 66
Con un máximo de 16 entradas de micrófono/línea
(MG166CX/MG166C: 10) o cuatro entradas estereofónicas, la
mezcladora MG puede conectarse simultáneamente con una gran
variedad de dispositivos: micrófonos, dispositivos de nivel de línea,
sintetizadores estereofónicos, etc.
Kompression......................................................................Seite 28
Kompression erhöht den Durchschnittspegel, ohne Verzerrung
hinzuzufügen, indem übermäßige Pegelspitzen der Signale von
Mikrofonen oder Gitarren komprimiert werden.
AUX Sends und Stereo AUX Return.................................Seite 34
Von der AUX SEND-Buchse können Sie das Signal einzeln an
einen externen Signalprozessor führen, und das verarbeitete
Stereosignal über die RETURN-Buchse zurück in das Pult führen.
Hochwertige Digitaleffekte (MG166CX)....................Seiten 33, 37
Mit den eingebauten digitalen Effekten kann das MG166CX aus
sich heraus eine Reihe von Klangvariationen liefern.
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Features
Français
Deutsch
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
Compresión.....................................................................página 64
La compresión aumenta el nivel general sin causar distorsión,
mediante la compresión del exceso de picos en las señales de los
micrófonos y guitarras.
Envíos AUX y retorno AUX estereofónico....................página 70
Puede utilizar la toma AUX SEND para introducir la señal enviada
en un procesador de señales externo y luego devolver la señal
estereofónica procesada a través de la toma RETURN (retorno).
Efectos digitales de alta calidad (MG166CX)........páginas 69, 73
Gracias a sus efectos digitales incorporados, la mezcladora
MG166CX puede producir por sí misma una amplia gama de
variaciones de sonido.
EN
DE
FR
ES
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 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)
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions
contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your
authority, granted by the FCC, to use the product.
2. 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.
3. 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 with FCC regula-
tions does not guarantee that interference will 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 following 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 Division, 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 the MG166CX distributed by YAMAHA CORPORATION OF AMERICA, not the MG206C/MG166C.
2
MG206C/MG166CX/MG166C Owner’s Manual
(class B)
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. The required voltage is
printed on the name plate of the device.
• Do not expose the device to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.
• Use only the included power adaptor (PA-30 or an equivalent recommended by
Yamaha).
• Never insert or remove an electric plug with wet hands.
• Do not place the power cord near heat sources such as heaters or radiators, and
do not excessively bend or otherwise damage the cord, place heavy objects on
it, or place it in a position where anyone could walk on, trip over, or roll anything
over it.
Do not open
• Do not open the device or attempt to disassemble the internal parts or modify
them in any way. The device contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immediately and have it inspected
by qualified Yamaha service personnel.
If you notice any abnormality
• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the device, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the device inspected by
qualified Yamaha service personnel.
• If this device or the AC power adaptor should be dropped or damaged,
immediately turn off the power switch, disconnect the electric plug from the
outlet, and have the device inspected by qualified Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the device or other property. These precautions include, but are not limited to, the following:
Power supply/Power cord
• Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
• When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
• To avoid generating unwanted noise, make sure there is adequate distance (50
cm or more) between the AC power adaptor and the device.
• If this device is to be mounted in an EIA-standard rack, leave the back of the rack
open and make sure that it is at least 10 cm away from walls or surfaces. Also, if
this device is to be mounted with devices that tend to generate heat, such as
power amplifiers, be sure to keep an adequate gap between this device and the
heat-generating devices or install ventilation panels to prevent high
temperatures from developing inside this device.
Inadequate ventilation can result in overheating, possibly causing damage to the
device(s), or even fire.
• Avoid setting all equalizer controls and faders to their maximum. Depending on
the condition of the connected devices, doing so may cause feedback and may
damage the speakers.
• Do not cover or wrap the AC power adaptor with a cloth or blanket.
Location
• Before moving the device, remove all connected cables.
• When setting up the device, make sure that the AC outlet you are using is easily
accessible. If some trouble or malfunction occurs, immediately turn off the
power switch and disconnect the plug from the outlet. Even when the power
switch is turned off, electricity is still flowing to the product all the minimum
level. When you are not using the product for a long time, make sure to unplug
the power cord from the wall AC outlet.
• Do not expose the device to excessive dust or vibrations, or extreme cold or heat
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
• Do not place the device in an unstable position where it might accidentally fall
over.
• Do not block the vents. This device has ventilation holes at the bottom/rear to
prevent the internal temperature from becoming too high. In particular, do not
place the device on its side or upside down. Inadequate ventilation can result in
overheating, possibly causing damage to the device(s), or even fire.
• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Doing so may result in noise, both in the device
itself and in the TV or radio next to it.
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MG206C/MG166CX/MG166C Owner’s Manual
3
Connections
Handling caution
• Before connecting the device to other devices, turn off the power for all devices.
Before turning the power on or off for all devices, set all volume levels to
minimum.
• When turning on the AC power in your audio system, always turn on the power
amplifier LAST, to avoid speaker damage. When turning the power off, the power
amplifier should be turned off FIRST for the same reason.
• Do not insert your fingers or hands in any gaps or openings on the device
(vents, etc.).
• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device (vents, etc.) If this happens, turn off the power
immediately and unplug the power cord from the AC outlet. Then have the
device inspected by qualified Yamaha service personnel.
• Do not use the device or headphones for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If you
experience any hearing loss or ringing in the ears, consult a physician.
• Do not rest your weight on the device or place heavy objects on it, and avoid use
excessive force on the buttons, switches or connectors.
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, or data that is lost or destroyed.
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. When you are not using the device for a long time,
make sure you unplug the power cord from the wall AC outlet.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualifi ed Yamaha service
personnel about replacing defective components.
The MG mixer may heat up by as much as 15 to 20°C while the power is on. This is normal. Please note that the panel temperature may exceed 50°C in ambient temperatures
higher than 30°C, and use caution to prevent burns.
* This Owner’s Manual applies to the MG206C/MG166CX/MG166C. The main differences between the three models are the number of input channels and whether the
internal effects are included. The MG206C has 20 input channels while the MG166CX/MG166C have 16 channels. And only the MG166CX has internal effects.
* In this manual the term “MG mixsers” refers to the MG206C, MG166CX and MG166C.
* Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation.
* Company names and product names herein are trademarks or registered trademarks of their respective companies.
Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all
copyrights, and consult with a copyright specialist if you are in doubt about permissible use.
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.
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MG206C/MG166CX/MG166C Owner’s Manual
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Introduction
Thank you for your purchase of the Yamaha MG206C/MG166CX/MG166C mixing console. The
MG206C/MG166CX/MG166C feature input channels suitable for a wide range of usage environments.
And the MG166CX 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.
Please read through this 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.
Contents
Introduction .......................................... 5
Before Turning on the Mixer
1
Contents...........................................................5
Before Turning on the Mixer ............................5
Turning the Power On......................................5
Be sure that the mixer’s power switch is in the
STANDBY position.
CAUTION
■ Mixer Basics................................ 6
Quick Guide.......................................... 6
2
Making the Most of Your Mixer........... 8
Balanced, Unbalanced
—What’s the Difference?..............................8
Signal Levels and the Decibel..........................8
To EQ or Not to EQ..........................................9
Ambience .......................................................10
The Modulation Effects:
Phasing, Chorus, and Flanging ..................10
Compression..................................................10
■ Reference .................................. 11
Setup ................................................... 11
Connect the power adaptor to the AC ADAPTOR IN
connector (q) on the rear of the mixer, and then
turn the fastening ring clockwise (w) to secure the
connection.
w
3
Troubleshooting................................. 20
Specifications..................................... 75
CAUTION
• Be sure to unplug the adaptor from the outlet
when not using the mixer, or when there are
lightning storms in the area.
• To avoid generating unwanted noise, make
sure there is 50 cm or more between the power
adaptor and the mixer.
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.
CAUTION
Accessories
q
Plug the power adaptor into a standard household
power outlet.
Front & Rear Panels........................... 12
Channel Control Section ................................12
Digital Effects .................................................15
Master Control Section ..................................16
Digital Effect Program List (Only MG166CX).19
Jack List .........................................................19
Use only the included power adaptor (PA-30) or
an equivalent recommended by Yamaha. Use of a
different adaptor may result in equipment damage, overheating, or fire.
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.
• Owner’s Manual
• AC power adaptor (PA-30)*
* May not be included depending on your particular area. Please
check with your Yamaha dealer.
MG206C/MG166CX/MG166C Owner’s Manual
5
Mixer Basics
Quick Guide
Mixer Basics
Getting Sound to the Speakers
We begin by connecting a pair of speakers and generating some stereo output. Note that
operations and procedures will vary somewhat according to the input devices you are using.
2
Microphones, instruments
Speakers
2
Power Amp
1, 4
Headphones
GAIN controls
Monitor Speakers
4
3
PEAK indicators
PHANTOM switch
4, 7
Equalizer
Level meter
PAN/BAL switches
5 ON switches
4 PFL switches
5 ST switches
1, 7 Channel faders
1, 3 POWER switch
6
2, 4
MG206C/MG166CX/MG166C Owner’s Manual
1, 6, 7 STEREO OUT Master fader
MG206C
Mixer Basics
Quick Guide
1
Be sure that your mixer is turned off
and that all level controls* are turned
all the way down.
* STEREO OUT Master fader, Channel faders, GAIN
controls, etc.
NOTE
2
Set the equalizer and the PAN/BAL controls to
their ▼ positions.
Turn off any other external devices,
then connect microphones, instruments, and speakers.
NOTE
• For information on connecting external
devices see the Connection Example on page
11.
• Connect electric guitars and basses through
an intermediary device such as a direct box,
preamp, or amp simulator. Connecting these
instruments directly to the MG mixer may
result in degraded sound and noise.
3
Turn on the ON and ST switches for
each channel you are using.
6
Set the STEREO OUT Master fader to
the “0” position.
7
Set the Channel faders to create the
desired initial balance, then adjust the
overall volume using the STEREO
OUT Master fader.
NOTE
• To use the level meter to view the level being
applied to the STEREO L/R buses, set the
PFL switch off ( ) and the MONITOR switch
to STEREO ( ).
• If the PEAK indicator lights frequently, lower
the Channel faders a little to avoid distortion.
To avoid damage to your speakers,
power up the devices in the following
order: Peripheral devices → MG mixer
→ power amps (or powered speakers).
Reverse this order when turning
power off.
CAUTION
4
5
If you are using condenser microphones that
require phantom power, turn the MG mixer’s
phantom power switch on before turning on
the power to the power amp or powered
speakers. See page 17 for more detail.
Adjust the channel GAIN controls so
that the corresponding PEAK indicators flash briefly on the highest peak
levels.
NOTE
To use the level meter to get an accurate reading of the incoming signal level, turn the channel PFL switch on. Adjust the GAIN controls so
that the level meter indication occasionally
rises above the “▼” (0) level.
Note that the PHONES jack outputs the prefader signal from all channels on which the
PFL switch is ON so that those signals can be
monitored via the headphones.
MG206C/MG166CX/MG166C Owner’s Manual
7
Mixer Basics
Making the Most of Your Mixer
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.
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 surrounded 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 levels 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.
Balanced noise cancellation
To summarize
Noise
Hot (+)
Cold (–)
Phase
inversion
Phase
inversion
Noise cancelled
Ground
Noise-free
signal
Microphones
Use balanced lines.
Short linelevel runs
Unbalanced lines are fine if
you’re in a relatively noisefree environment.
Long linelevel runs
The ambient electromagnetic noise level will be the
ultimate deciding factor, but
balanced is best.
Receiving device
Source
Cable
Signal Levels and the Decibel
Let’s take a look at one of the most commonly used units in
Most professional mixers,
audio: the decibel (dB). If the smallest sound that can be
power amplifiers, and other
types of equipment have inputs
heard by the human ear is given an arbitrary value of 1, then + 20 dBu
and outputs with a nominal level
the loudest sound that can be heard is approximately
of +4 dBu.
1,000,000 (one million) times louder. That’s too many digits
0.775 V The inputs and outputs on
0 dBu
to deal with for practical calculations, and so the more approhome-use audio gear usually
priate “decibel” (dB) unit was created for sound-related meahave a nominal level of –7.8 dBu
surements. In this system the difference between the softest
(–10 dBV).
-20 dBu
and loudest sounds that can be heard is 120 dB. This is a
Microphone signal levels vary
non-linear scale, and a difference of 3 dB actually results in a
over a wide range depending on
doubling or halving of the loudness.
-40 dBu
the type of microphone and the
You might encounter a number of different varieties of the
source. Average speech is
dB: dBu, dBV, dBM and others, but the dBu is the basic deciabout –30 dBu, but the twitterbel unit. In the case of dBu, “0 dBu” is specified as a signal
-60 dBu
ing of a bird might be lower than
level of 0.775 volts. For example, if a microphone’s output
–50 dBu while a solid bass
level is -40 dBu (0.00775 V), then to raise that level to 0 dBu
drum beat might produce a level
(0.775 V) in the mixer’s preamp stage requires that the signal
as high as 0 dBu.
be amplified by 100 times.
A mixer may be required to handle signals at a wide range of
levels, and it is necessary match input and output levels as closely as possible. In most cases the “nominal” level
for a mixer’s input and outputs is marked on the panel or listed in the owner’s manual.
8
MG206C/MG166CX/MG166C Owner’s Manual
Mixer Basics
Making the Most of Your Mixer
To EQ or Not to EQ
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 commonly bad boost—just sounds terrible.
Cut for a Cleaner Mix
For example: cymbals have a lot of energy in the mid and
low frequency 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. Surprisingly enough, piano also has an incredibly powerful low end that can benefit from a bit of low-frequency roll-off to let other instruments—notably drums and
bass—do their jobs more effectively. Naturally you won’t
want to do this if the piano is playing solo.
The reverse applies to kick drums and bass guitars: 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 different and sometimes you’ll want the “snap” of a
bass guitar, for example, to come through.
The fundamental
and harmonic
musical instruments.
frequency ranges of some
Cymbal
Piano
Bass Drum
Snare Drum
Bass
Guitar
Trombone
Trumpet
20 50 100
200
500
1k 2k
5k
10 k
20 k (Hz)
Fundamental: The frequency that determines the basic
musical pitch.
Harmonics:
Multiples of the fundamental frequency
that play a role in determining the timbre
of the instrument.
Some Frequency Facts
The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz
and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the “A3” key
on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e. “A4”
on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.
Boost with Caution
MID Boost
Signal
Level (dB)
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 increments. 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 cluttering 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 circuitry.
MID Flat
LOW Boost
HIGH Boost
LOW Flat
HIGH Flat
LOW Cut
HIGH Cut
MID Cut
Frequency (Hz)
MG206C/MG166CX/MG166C Owner’s Manual
9
Mixer Basics
Making the Most of Your Mixer
Ambience
Your mixes can be further refined by adding ambience effects such as reverb or delay. The MG166CX’s
internal effects can be used to add reverb or delay to
individual channels in the same way as external
effects processors. (Refer to page 15).
Reverb and Delay Time
The optimum reverb time for a piece of music will
depend on the music’s tempo and density, but as a
general rule longer reverb times are good for ballads,
while shorter reverb times are more suited to uptempo tunes. Delay times can be adjusted to create a
wide variety of “grooves”. When adding delay to a
vocal, for example, try setting the delay time to dotted
eighth notes corresponding to the tune’s tempo.
Reverb Tone
Different reverb programs will have different “reverb
tone” due to differences in the reverb time of the high
or low frequencies. Too much reverb, particularly in
the high frequencies, can result in unnatural sound
and interfere with the high frequencies in other parts
of the mix. It’s always a good idea to choose a reverb
program that gives you the depth you want without
detracting from the clarity of the mix.
Reverb Level
It’s amazing how quickly your ears can lose perspective and fool you into believing that a totally washedout 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.”
For chorus and flanging the signal is delayed by several milliseconds, with the delay time modulated by
an LFO, and recombined with the direct signal. In
addition to the phasing effect described above, the
delay modulation causes a perceived pitch shift
which, when mixed with the direct signal, results in a
harmonically rich swirling or swishing sound.
The difference between chorus and flanging effects is
primarily in the amount of delay time and feedback
used—flanging uses longer delay times than chorus,
whereas chorus generally uses a more complex
delay structure. Chorus is most often used to thicken
the sound of an instrument, while flanging is usually
used as an outright “special effect” to produce otherworldly sonic swoops.
Compression
One form of compression known as “limiting” can,
when properly used, produce a smooth, unified
sound with no excessive peaks or distortion. A common example of the use of compression is to “tame” a
vocal that has a wide dynamic range in order to
tighten up the mix. With the right amount of compression you’ll be able to clearly hear whispered passages while passionate shouts are still well balanced
in the mix. Compression can also be valuable on
bass guitar. Too much compression can be a cause of
feedback, however, so use it sparingly.
Most compressors require several critical parameters
to be set properly to achieve the desired sound. The
MG compressor makes achieving great sound much
easier: all you need to do is set a single “compression” control and all of the pertinent parameters are
automatically adjusted for you.
OUTPUT
The Modulation Effects:
(Min)
Phasing, Chorus, and Flanging
(Max)
All of these effects work on basically the same principle: a portion of the audio signal is “time-shifted” and
then mixed back with the direct signal. The amount of
time shift is controlled, or “modulated”, by an LFO
(Low-frequency Oscillator).
For phasing effects the shift is very small. The phase
difference between the modulated and direct signals
causes cancellation at some frequencies and reinforces the signal at others and this causes the shimmering sound we hear.
10
MG206C/MG166CX/MG166C Owner’s Manual
INPUT
Reference
Setup
Reference
Guitar
Rear panel
Effect processor
Recorder
Powered monitor
speakers
Bass
CD Player
Powered speakers
Synthesizer
Microphone
DI
Effect processor
(exciter)
Headphones
Powered monitor
speakers
MG206C
MG206C/MG166CX/MG166C Owner’s Manual
11
Reference
Front & Rear Panels
Channel Control Section
● MG206C
● MG166CX/MG166C
* A MG166C : EFFECT → AUX3
Channels
1 to 8
(Monaural)
Channels
9 to 12
(Monaural)
Channels
13/14 and 15/16
(Stereo)
Channels
17/18 and 19/20
(Stereo)
1
1
5
6
7
12
4
Channels
9/10 and 11/12
(Stereo)
1
2
3
5
6
7
8
6
7
6
7
8
9
9
0
0
A
Channels
7 and 8
(Monaural)
1
2
3
Channels
1 to 6
(Monaural)
9
9
0
0
A
A
B
B
A
B
B
C
C
C
C
D
E
D
E
D
E
D
E
F
G
H
F
G
H
F
G
H
F
G
H
I
I
I
I
MG206C/MG166CX/MG166C Owner’s Manual
Channels
13/14 and 15/16
(Stereo)
4
Reference
Front & Rear Panels
1 MIC Input jacks
7
These are balanced XLR-type microphone input jacks. (1:
Ground; 2: Hot; 3: Cold)
2 LINE Input Jacks (monaural channels)
These are balanced TRS phone-jack line inputs. (T: Hot; R:
Cold; S: Ground). You can connect either balanced or unbalanced phone plugs to these jacks.
3 LINE Input Jacks (stereo channels)
These are unbalanced phone-jack stereo line inputs.
4 LINE Input Jacks (stereo channels)
These are unbalanced stereo RCA pin jacks.
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 (the HPF does not apply to the line inputs of stereo
input channels 3, 4).
8 COMP Control
Adjusts the amount of compression applied to the channel.
As the knob is turned to the right the compression ratio
increases while the output gain is automatically adjusted
accordingly. The result is smoother, more even dynamics
because louder signals are attenuated while the overall level
is boosted.
NOTE
On channels that provide multiple input jack options
only one type of jack can be used at a time.
NOTE
5 INSERT Jacks
9 PEAK indicator
These jacks can be used to insert an external signal-processing device between the equalizer and fader of the corresponding monaural input channel. The INSERT jacks are
ideal for connecting devices such as graphic equalizers,
compressors, or noise filters into the corresponding channels.
These are TRS (tip, ring, sleeve) phone jacks that
carry both the send and return signal (tip = send/out;
ring = return/in; sleeve = ground). Patching external
devices via an INSERT jack requires a special cable
such as illustrated below (insert cable sold separately).
NOTE
To the input jack of the
external processor
To the INSERT I/O jack
Sleeve (Ground)
Ring: IN
Tip: OUT
Tip: OUT
Tip: IN
To the output jack of
the external processor
CAUTION
Avoid setting the compression too high, as the higher
average output level that results may lead to feedback.
The signal output from the INSERT jacks is
reverse-phased. This should not be a problem
when connecting to an effect unit, but please be
aware of the possibility of phase conflict when
connecting to other types of device. A reversedphased signal may result in degraded sound
quality or even complete sound cancellation.
The peak level of the post-EQ signal is detected, and the
PEAK indicator lights red when the level reaches 3 dB
below clipping.
For XLR-equipped stereo input channels, both the post-EQ
and post-mic-amp peak levels are detected, and the indicator
lights red if either of these levels reaches 3 dB below clipping.
0 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 response in the corresponding band.
Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band.
The monaural channels have MID frequency controls to
adjust the midrange frequency band.
The following table shows the EQ type, frequency, and maximum cut/boost for each of the three bands.
Band
Type
Frequency
HIGH
Shelving
10 kHz
MID
Peaking
2.5 kHz*
LOW
Shelving
100 Hz
Maximum
Cut/Boost
±15 dB
* The monaural channel MID frequency can be adjusted from
250 Hz to 5 kHz. The MID frequency is 2.5 kHz when the
MID frequency control is set at the center position.
6 GAIN Control
Adjusts the input signal level. To get the best balance
between the S/N ratio and the dynamic range, adjust the gain
so that the PEAK indicator 9 lights only occasionally and
briefly on the highest input transients. The -60 to -16 scale is
the MIC input adjustment range. The -34 to +10 scale is the
LINE input adjustment range.
MG206C/MG166CX/MG166C Owner’s Manual
13
Reference
Front & Rear Panels
A AUX, EFFECT Control
Adjusts the level of the signal sent from the channel to the
AUX and EFFECT buses. These knobs should generally be
set close to the “▼” position. These controls send either the
signal from immediately prior to the channel fader (pre-fader
signal) or the signal after the channel fader (post-fader signal) to the corresponding buses. The types of signals sent by
the AUX and EFFECT controls on each mixer model are as
follows:
Turn this switch on to send the signal to the buses. The
switch lights orange when on.
E PFL (Pre-Fader Listen) Switch
This switch lets you monitor the channel’s pre-fader signal.
Press the switch in ( ) so that it lights to turn it on. When
the switch is on the channel pre-fader signal is output to the
PHONES and MONITOR OUT jacks for monitoring.
• MG206C
AUX1:
Pre-fader
AUX2, 3: Pre-fader/post-fader (determined by the AUX
PRE switch B)
AUX4:
Post-fader
F 1-2 Switch
• MG166CX
AUX1:
Pre-fader
AUX2:
Pre-fader/post-fader (determined by the AUX
PRE switch B)
EFFECT: Post-fader
G 3-4 Switch
• MG166C
AUX1:
Pre-fader
AUX2:
Pre-fader/post-fader (determines by the AUX
PRE switch B)
AUX3:
Post-fader
NOTE
• To send the signal to the STEREO bus engage the
ON switch (
).
• On stereo channels, the L (odd) and R (even) input
signals are mixed and sent to the AUX and
EFFECT buses.
B AUX PRE Switch
Selects whether the pre-fader or the post-fader signal is fed
to the AUX buses. If the switch is on ( ), the mixer sends
the pre-fader signal to the AUX buses, so that AUX outputs
are not affected by the channel fader I. If the switch is off
( ) the mixer sends the post-fader signal to the AUX
buses.
C PAN Control
PAN/BAL Control
BAL Control
The PAN control determines the stereo positioning of the
channel signal on the GROUP 1/2 and GROUP 3/4 buses or
on the STEREO L/R bus. The BAL control knob sets the
balance between left and right channels. Signals input to the
L input (odd channel) go to the GROUP 1 or 3 buses or to
the STEREO L bus; signals input to the R input (even channel) go to the GROUP 2 or 4 buses or the STEREO R bus.
NOTE
14
D ON Switch
On channels where this knob provides both PAN and
BAL control, the knob operates as a PAN control
when input is received via the MIC jack or L (MONO)
input only, and as a BAL control when input is
received via both L and R inputs.
MG206C/MG166CX/MG166C Owner’s Manual
This switch assigns the channel’s signal to the GROUP 1/2
bus.
NOTE
To send the signal to the GROUP 1/2 bus turn the
ON switch on (
).
This switch assigns the channel’s signal to the GROUP 3/4
bus.
NOTE
To send the signal to the GROUP 3/4 bus turn the
ON switch on (
).
H ST Switch
This switch assigns the channel’s signal to the STEREO L/R
bus.
NOTE
To send the signal to the STEREO bus turn the ON
switch on (
).
I Channel Fader
Adjusts the level of the channel signal. Use these faders to
adjust the balance between the various channels.
NOTE
Set the fader sliders for unused channels all the way
down to minimize noise.
Reference
Front & Rear Panels
Digital Effects
* Only the MG166CX has digital effects.
1 FOOT SWITCH Jack
A Yamaha FC5 foot switch (sold separately) can be connected to this jack
and used to toggle the digital effects ON and OFF.
1
2 PROGRAM Dial
Selects one of the 16 internal effects. See page 19 for details about the
internal effects.
3 PARAMETER Control
2
Adjusts the parameter (depth, speed, etc.) for the selected effect. The last
value used with each effect type is saved.
3
NOTE
4
When you change to a different effect type, the mixer automatically
restores the value that was previously used with that type (regardless of the current position of the PARAMETER knob).
These parameter values are reset when the power is turned off.
4 AUX Control
Adjusts the level of the signal sent from the internal digital effect unit to
the AUX buses.
NOTE
The signal level sent to the AUX buses is not affected by the
EFFECT RTN fader.
5 ON Switch
Switches the internal effect on or off. The internal effect is applied only if
this switch is turned on. The switch lights orange when on.
An optional Yamaha FC5 foot switch (sold separately) can be used to toggle the digital effects ON and OFF.
5
6
7
8
9
NOTE
The ON switch lights and the internal effect unit is active when the
power is initially turned on.
6 PFL Switch
Turn this switch on to send the effect signal to the PFL bus.
7 1-2 Switch
0
This switch assigns the effect signal to the GROUP 1/2 bus.
8 3-4 Switch
This switch assigns the effect signal to the GROUP 3/4 bus.
9 ST Switch
This switch assigns the effect signal to the STEREO L/R bus.
0 EFFECT RTN Fader
Adjusts the signal level sent from the internal digital effect unit to the STEREO bus.
MG206C/MG166CX/MG166C Owner’s Manual
15
Reference
Front & Rear Panels
Master Control Section
● MG206C
● MG166CX/MG166C
* 1, C MG166C : EFFECT → AUX3
Rear panel
1
4
6
3
6
1
2
3 4
5
7
8
5
2
8
7
9
0
9
0
A
A
C
C
B
D
B
E
E
H
H
F
I
G
16
MG206C/MG166CX/MG166C Owner’s Manual
D
F
I
G
Reference
Front & Rear Panels
1 SEND Jacks (AUX, EFFECT)
These impedance balanced* TRS phone jacks output the signals from the AUX/EFFECT buses. The pre-fader send option
should be selected if you are connecting to a monitor system,
while the post-fader send option is the best choice when connecting to external signal processors (e.g. effects units).
See “AUX, EFFECT Control” on page 14 for information on
the types of signals sent by the AUX and EFFECT controls
on each mixer model.
2 GROUP OUT (1 to 4) Jacks
These impedance-balanced* TRS phone jacks output the
GROUP 1/2 and 3/4 signals. Use these jacks to connect to
the input jacks of an multi-track recorder, external mixer, or
other such device.
8 PHONES Jack
Connect a pair of headphones to this TRS phone-type output
jack. The PHONES jack outputs the same signal as the
MONITOR OUT jacks.
9 PHANTOM +48 V Switch
This switch toggles phantom power on and off. When the
switch is on the mixer supplies +48V phantom power to all
channels that have XLR mic input jacks. Turn this switch on
when using one or more phantom-powered condenser microphones.
NOTE
• Be sure to leave this switch off if you do not
need phantom power.
3 REC OUT (L, R) Jacks
These RCA pin jacks can be connected to an external
recorder such as an MD recorder in order to record the same
signal that is being output via the STEREO OUT jacks.
NOTE
CAUTION
The mixer’s STEREO OUT Master fader has no
affect on the signal output via these jacks.
Be sure to make appropriate level adjustments at the
recording device.
These RCA pin jacks input a stereo sound source.
Use these jacks when you want to connect a CD player
directly to the mixer.
Select where you want to send the signal using the
2TR IN switch, and adjust the signal level using the
2TR IN control in the Master Control section.
5 RETURN L (MONO), R Jacks
These are unbalanced phone-jack type line inputs.
The signal received by these jacks can be sent to the STEREO L/R bus as well as the AUX1 and AUX2 buses. When a
stereo signal is returned a mono mix of the signal is sent to
the AUX1 and AUX2 buses. These jacks are typically used to
receive the signal returned from an external effect device
(reverb, delay, etc.).
NOTE
• These jacks can also be used as an auxiliary stereo input.
• If you connect to the L (MONO) jack only, the mixer
will recognize the signal as monaural and will send
the identical signal to both the L and R jacks.
6 STEREO OUT (L, R) Jacks
These jacks deliver the mixer’s stereo output. You use these
jacks, for example, to connect to the power amplifier driving
your main speakers. You can also connect these jacks to a
recording device when you wish to record mixer’s stereo
output while using the STEREO OUT Master fader I for
level control.
• XLR jacks
XLR-type balanced output jacks.
• LINE jacks
TRS phone-type balanced output jacks.
7 MONITOR OUT jacks
• When turning the switch on, be sure that only
condenser microphones are connected to the
XLR input jacks. Devices other than condenser
mics may be damaged if connected to the
phantom power supply. Note, however, that the
switch may be left on when connecting to balanced dynamic microphones.
• To prevent damage to speakers, be sure to turn
off power amplifiers (or powered speakers)
before turning this switch on or off. We also
recommend that you turn all output controls
(STEREO OUT Master fader, GROUP 1-2 fader,
GROUP 3-4 fader, etc.) to their minimum settings before operating the switch to avoid the
risk of loud noises that could cause hearing
loss or device damage.
4 2TR IN Jacks
NOTE
When this switch is on the mixer supplies DC +48 V
power to pins 2 and 3 of all XLR-type MIC INPUT
jacks.
0 POWER Indicator
This indicator lights when the mixer’s power is ON.
A Level Meter
This LED meter displays the level of the signal selected by
the MONITOR switch D, 2TR IN switch E and PFL
switch. The “0” segment corresponds to the nominal output
level. The PEAK indicator lights red when the output
reaches the clipping level.
B RETURN
• AUX1, AUX2 Control
Adjusts the level at which the L/R signal received at the
RETURN jacks (L (MONO) and R) is sent to the AUX1 and
AUX2 buses.
• STEREO Control
Adjusts the level at which the signal received at the RETURN
jacks (L (MONO) and R) is sent to the STEREO L/R bus.
NOTE
• If you supply a signal to the RETURN L (MONO)
jack only, the mixer sends the same signal to both
the L and R STEREO buses.
• (MG206C) Signals input via the RETURN1 jacks
are adjusted using the RETURN1 AUX1, AUX2 and
the STEREO controls, and signals input via the
RETURN2 jacks are adjusted using the RETURN2
AUX1, AUX2 and the STEREO controls.
These are impedance-balanced* TRS phone-type output
jacks.
NOTE
The signal output by these jacks is determined by the
MONITOR switch, the 2TR IN switch, and the PFL
switches on the input channels.
* impedance balanced
Since the hot and cold terminals of impedance balanced output
jacks have the same impedance, these output jacks are less
affected by induced noise.
MG206C/MG166CX/MG166C Owner’s Manual
17
Reference
Front & Rear Panels
C Master SEND Controls (AUX, EFFECT)
Adjusts the signal level sent to the SEND (AUX, EFFECT)
jacks.
NOTE
If you are using the MG166CX, the Master SEND
control (EFFECT) does not affect the level of the signal sent from the EFFECT bus to the internal digital
effect processor.
D MONITOR/PHONES
MONITOR MIX Signal Flow
2TR IN control
2TR IN
Playback
MONITOR/PHONES controls
signal
MONITOR
STEREO
OUT/PHONES
bus
jacks
Recording
signal
STEREO OUT Master fader
REC OUT
jacks
• MONITOR switches
These switches select the signal sent to the MONITOR OUT
jacks, PHONES jack and the level meter from STEREO L/R
bus, GROUP 1/2 bus or GROUP 3/4 bus.
STEREO L/R bus: STEREO (
GROUP 1/2 bus:
GROUP (
GROUP 3/4 bus:
GROUP (
)
), 1-2 (
), 3-4 (
)
)
Controls the level of the signal output to the PHONES jack
and the MONITOR OUT jacks.
E 2TR IN
• 2TR IN Switch
If this switch is set to TO MONITOR ( ), the signals input
via the 2TR IN jacks are sent to the MONITOR OUT jacks,
the PHONES jack, and the level meter. If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R bus.
• 2TR IN Control
Adjusts the level of the signal sent from the 2TR IN jacks.
The following illustration shows how the switch settings correspond to the signal selection.
Switches
PFL
MONITOR/
PHONES
2TR IN
ON
—
—
TO STEREO
STEREO
Signals output via the
MONITOR/PHONES
jacks
PFL
STEREO (+ 2TR IN)
TO MONITOR STEREO + 2TR IN
*
TO STEREO
1-2
GROUP 1-2
TO MONITOR GROUP 1-2 (+ 2TR IN)
GROUP
TO STEREO
3-4
GROUP 3-4
TO MONITOR GROUP 3-4 (+ 2TR IN)
*
18
If the input channel PFL switch is on (
), then only
the PFL output from that channel is sent to the MONITOR OUT jacks, PHONES jack, and level meter.
F GROUP 1-2 Fader
Adjusts the signal level sent to the GROUP OUT 1/2 jacks.
G GROUP 3-4 Fader
• MONITOR Control
OFF
NOTE
: When overdubbing, you can adjust the levels of the monitor playback signal and the signal being recorded separately.
MG206C/MG166CX/MG166C Owner’s Manual
Adjust the signal level to the GROUP OUT 3/ 4 jacks.
H ST Switch
If this switch is on, the signals are sent to the STEREO L/R
bus via the GROUP 1-2 fader or GROUP 3-4 fader. The
GROUP 1 and 3 signals go to STEREO L and the GROUP 2
and 4 signals go to STEREO R.
I STEREO OUT Master Fader
Adjusts the signal level sent to the STEREO OUT jacks.
Reference
Front & Rear Panels
Digital Effect Program List (Only MG166CX)
No
Program
Parameter
Description
1
REVERB HALL 1
REVERB TIME
2
REVERB HALL 2
REVERB TIME
3
REVERB ROOM 1
REVERB TIME
4
REVERB ROOM 2
REVERB TIME
5
REVERB STAGE 1
REVERB TIME
6
REVERB STAGE 2
REVERB TIME
7
REVERB PLATE
REVERB TIME
Simulation of a metal-plate reverb unit, producing a more hard-edged sound.
8
DRUM AMBIENCE
REVERB TIME
A short reverb that is ideal for use with kick drum.
9
KARAOKE ECHO
DELAY TIME
Echo designed for karaoke (sing-along) applications.
10
VOCAL ECHO
DELAY TIME
Echo suitable for vocals.
11
CHORUS 1
LFO Frequency
12
CHORUS 2
LFO Frequency
Creates a thick sound by modulating the delay time.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
13
FLANGER
LFO Frequency
A sweeping pitched effect.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
14
PHASER
LFO Frequency
Phase modulation produces a cyclical phasing effect.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
15
AUTO WAH
LFO Frequency
A wah-wah effect with cyclical filter modulation.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
16
DISTORTION
DRIVE
Adds a sharp-edged distortion to the sound.
Reverb simulating a large space such as a concert hall.
Reverb simulating the acoustics of a small space (room).
Reverb simulating a large stage.
* “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and
waveform shape.
Jack List
Input and Output Jacks
Polarities
Configurations
INPUT
MIC INPUT, STEREO OUT
OUTPUT
Pin 1: Ground
Pin 2: Hot (+)
Pin 3: Cold (–)
XLR Jack
LINE INPUT (monaural channels)
GROUP OUT, STEREO OUT,
MONITOR OUT, AUX SEND,
EFFECT SEND (Only MG166CX)*
Tip: Hot (+)
Ring: Cold (–)
Sleeve: Ground
INSERT
Tip: Output
Ring: Input
Sleeve: Ground
PHONES
Tip: L
Ring: R
Sleeve: Ground
RETURN
LINE INPUT (stereo channels)
Tip: Hot
Sleeve: Ground
Ring
Sleeve
Tip
TRS Phone Jack
Sleeve
Tip
Phone Jack
* These jacks will also accept connection to phone plugs. If you use monaural plugs, the connection will be unbalanced.
MG206C/MG166CX/MG166C Owner’s Manual
19
Reference
Troubleshooting
20
Power doesn’t come on.
❑ Is the supplied power adaptor properly plugged into an appropriate AC wall
outlet?
❑ Is the supplied power adaptor properly plugged into the mixer?
No sound.
❑ Are microphones, external devices, and speakers connected correctly?
❑ Are the ON switch and ST switch of the channels you are using turned ON?
❑ Are the channel GAIN controls, Channel fader, STEREO OUT Master fader
and GROUP 1-2/3-4 fader set to appropriate levels?
❑ Are the MONITOR switch and 2TR IN switch set properly?
❑ Are your speaker cables connected properly, or are they shorted?
❑ If the above checks do not identify the problem, call Yamaha for service.
(Refer to the page 71 for a list of service centers.)
Sound is faint, distorted, or
noisy.
❑ Are the channel GAIN controls, Channel fader, STEREO OUT Master fader
and GROUP 1-2/3-4 fader set to appropriate levels?
❑ Are two different instruments connected to the XLR-type and phone jacks, or
to the phone and RCA pin jacks on one channel? Please connect to only one
of these jacks on each channel.
❑ Is the input signal from the connected device set to an appropriate level?
❑ Are you applying the effects at an appropriate level?
❑ Are microphones connected to the MIC input jacks?
❑ If you are using condenser microphones, is the PHANTOM +48 V switch
turned ON?
No effect is applied.
(If you are using MG166CX)
❑ Check that the EFFECT control on each channel is correctly adjusted.
❑ Be sure that the internal effect unit’s ON switch is turned ON.
❑ Be sure that the EFFECT PARAMETER control and EFFECT RTN fader are
correctly adjusted.
I want spoken words to be
heard more clearly.
❑ Be sure that the
switches are ON.
❑ Adjust the equalizers (HIGH, MID and LOW) on each channel.
I want to output a monitor
signal through speakers.
❑ Connect a powered speaker to the AUX 1, 2 or 3 jack (MG206C), or to the
AUX1 or 2 jack (MG166CX/MG166C) and turn the PRE switch on each channel on. Then adjust the output signal by using the AUX controls on each channel and the Master SEND control.
The level meter doesn’t
show the output signal
level.
❑ Are the PFL switches for the channels that you are not using turned on?
MG206C/MG166CX/MG166C Owner’s Manual
Reference
Specifications
MG206C
■ Electrical Specifications
Frequency Response
Total Harmonic Distortion (THD + N)
Hum & Noise
STEREO OUT
GROUP OUT
AUX SEND
MONITOR OUT, REC OUT
STEREO OUT
Hum & Noise are measured with a 6
dB/octave filter @ 12.7
kHz; equivalent to a 20
kHz filter with infinite
dB/octave attenuation.
Crosstalk (1 kHz)
Maximum voltage gain
(1 kHz)
All faders and controls
are maximum when
measured.
PAN/BAL: panned
hard left or hard right
Phantom Voltage
CH INPUT 1–12 MIC
STEREO OUT
GROUP OUT
AUX SEND
GAIN: min (CHs 1–19/20)
20 Hz–20 kHz
Nominal output level @1 kHz
Input: CHs 1 to 19/20, RETURN, 2TR IN
MIN
TYP
MAX UNIT
-3.0
0.0
1.0
dB
0.1
%
+14 dBu @ 20 Hz–20 kHz, Input GAIN Control at minimum
EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN: maximum
STEREO OUT, GROUP 1-2 fader and GROUP 3-4 fader at
nominal level and all channels’ ST and 1-2, 3-4 switches off.
Master/AUX control at nominal level and all CH AUX controls at
minimum.
STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH
GROUP OUT fader at nominal level.
STEREO OUT Residual Output Noise
Adjacent Input CHs 1–12
Input to Output STEREO L/R, CHs 1–12, PAN: panned hard left or right
Rs = 150 Ω MIC to CH INSERT OUT
INPUT GAIN: maximum MIC to STEREO OUT
MIC to GROUP OUT
MIC to GROUP to ST
MIC to REC OUT
MIC to MONITOR OUT, ST TO MONITOR
MIC to PHONES OUT
MIC to AUX SEND PRE
MIC to AUX SEND POST
CH 17/18, 19/20 LINE to STEREO OUT
CH 17/18, 19/20 LINE to GROUP OUT
CH 17/18, 19/20 LINE to AUX SEND PRE
CH 17/18, 19/20 LINE to AUX SEND POST
Rs = 150 Ω RETURN to STEREO OUT
RETURN to AUX SEND
Rs = 600 Ω 2TR IN to STEREO OUT
MIC no load
-128
-88
-81
dBu
-64
-98
-70
-70
dB
60
84
94
62.2
94
83
76
86
dB
58
47
57
16
9
27.8
48
V
■ General Specifications
Input HPF
Input equalization
±15 dB maximum
Turn over/roll-off frequency of
shelving: 3 dB blow maximum
variable level.
PEAK Indicator
LED Level Meter
Power Supply Adaptor
Power Consumption
Dimensions (W x H x D)
Net Weight
80 Hz, 12 dB/oct
CHs 1–12 HIGH: 10 kHz (shelving)
MID: 250 Hz–5 kHz (peaking)
LOW: 100 Hz (shelving)
CH 13/14–19/20 HIGH: 10 kHz (shelving)
MID: 2.5 kHz (peaking)
LOW: 100 Hz (shelving)
Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for
CHs 13/14–19/20) reaches -3 dB below clipping (+17 dBu).
Pre MONITOR Level 2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB)
STEREO/GROUP/PFL bus PEAK lights if the signal level reaches 3 dB below the clipping level.
PA-30 AC 35 VCT, 1.4 A, Cable Length = 3.6 m
40 W
478 mm x 102 mm x 496 mm
6.0 kg
All faders are nominal if not specified.
Output impedance of signal generator: 150 ohms
MG206C/MG166CX/MG166C Owner’s Manual
75
Reference
Specifications
■ Input Specifications
Input Connectors
CH INPUT MIC
(CHs 1–12)
CH INPUT LINE
(CHs 1–12)
ST CH MIC INPUT
(CHs 13/14–19/20)
ST CH LINE INPUT
(CHs 13/14, 15/16)
ST CH INPUT
(CHs 17/18, 19/20)
Gain
Input
Impedance
Appropriate
Impedance
3kΩ
50–600Ω
Mics
10kΩ
600Ω
Lines
3kΩ
50–600Ω
Mics
10kΩ
600Ω
Lines
10kΩ
600Ω
Lines
-60 dB
-16 dB
-34 dB
+10 dB
-60 dB
-16 dB
-34 dB
+10 dB
-34 dB
+10 dB
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 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
-80 dBu
(0.078 mV)
-60 dBu
(0.775 mV)
-40 dBu
(7.75 mV)
-36 dBu
(12.3 mV)
-16 dBu
(123 mV)
-6 dBu
(389 mV)
-54 dBu
(1.55 mV)
-34 dBu
(15.5 mV)
-14 dBu
(155 mV)
-10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
-54 dB
(1.55 mV)
-34 dB
(15.5 mV)
-14 dB
(155 mV)
-10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
Connector Specifications
XLR-3-31 type (balanced [1 = GND, 2 =
HOT, 3 = COLD])
TRS phone jack (balanced [Tip = HOT,
Ring = COLD, Sleeve = GND])
XLR-3-31 type (balanced [1 = GND, 2 =
HOT, 3 = COLD])
Phone jack (unbalanced)
Phone jack (unbalanced)
RCA pin jack
CH INSERT IN
(CHs 1–12)
—
10kΩ
600Ω
Lines
-20 dBu
(77.5 mV)
0 dBu
(0.775 V)
+20 dBu
(7.75 V)
TRS phone Jack (unbalanced [Tip =
Out, Ring = In, Sleeve = GND])
RETURN (L, R)
—
10kΩ
600Ω
Lines
-12 dBu
(195 mV)
+4 dBu
(1.23 V)
+24 dBu
(12.3 V)
Phone jack (unbalanced)
2TR IN (L, R)
—
10kΩ
600Ω
Lines
-26 dBV
(50.1 mV)
-10dBV
(0.316V)
+10dBV
(3.16 V)
RCA pin jack
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms
* Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to
the maximum level. (All faders and level controls are at their maximum position.)
■ Output Specifications
Output
Impedance
Appropriate
Impedance
Nominal Level
Max. before
clipping
Connector Specifications
STEREO OUT (L, R)
75Ω
600Ω Lines
+4dBu (1.23 V)
+24 dBu (12.3 V)
XLR-3-32 type (balanced [1 = GND, 2 =
HOT, 3 = COLD])
TRS phone jack (balanced [Tip = HOT, Ring
= COLD, Sleeve = GND])
GROUP OUT (1–4)
150Ω
10kΩ Lines
+4dBu (1.23 V)
+20 dBu (7.75 V)
TRS phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
AUX SEND (1–4)
150Ω
10kΩ Lines
+4dBu (1.23 V)
+20 dBu (7.75 V)
TRS phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
CH INSERT OUT
(CHs 1–12)
75Ω
10kΩ Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
TRS phone jack (unbalanced [Tip = Out,
Ring = In, Sleeve = GND])
REC OUT (L, R)
600Ω
10kΩ Lines
-10 dBV (0.316 V)
+10 dBV (3.16 V)
RCA pin jack
TRS phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
Output Connectors
MONITOR OUT (L, R)
150Ω
10kΩ Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
PHONES OUT
100Ω
40Ω Phones
3 mW
75 mW
Where 0 dBu = 0.775 Vrms and 0 dBV = 1 Vrms
76
MG206C/MG166CX/MG166C Owner’s Manual
TRS phone jack
Reference
Specifications
MG166CX/MG166C
■ Electrical Specifications
Frequency Response
Total Harmonic Distortion (THD + N)
Hum & Noise
STEREO OUT
GROUP OUT
EFFECT/AUX* SEND
MONITOR OUT, REC OUT
STEREO OUT
Hum & Noise are measured with a 6
dB/octave filter @ 12.7
kHz; equivalent to a 20
kHz filter with infinite
dB/octave attenuation.
Crosstalk (1 kHz)
Maximum voltage gain
(1 kHz)
All faders and controls
are maximum when
measured.
PAN/BAL: panned
hard left or hard right
Phantom Voltage
CH INPUT 1–8 MIC
STEREO OUT
GROUP OUT
EFFECT/AUX* SEND
GAIN: min (CHs 1–11/12)
20 Hz–20 kHz
Nominal output level @1 kHz
Input: CHs 1 to 15/16, RETURN, 2TR IN
MIN
TYP
MAX UNIT
-3.0
0.0
1.0
dB
0.1
%
+14 dBu @ 20 Hz–20 kHz, Input GAIN Control at minimum
EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN: maximum
STEREO OUT, GROUP 1-2 fader and GROUP 3-4 fader at
nominal level and all channels’ ST and 1-2, 3-4 switches off.
Master EFFECT/AUX* control at nominal level and all CH
EFFECT/AUX* controls at minimum.
STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH
GROUP OUT fader at nominal level.
STEREO OUT Residual Output Noise
Adjacent Input CHs 1–8
Input to Output STEREO L/R, CHs 1–8, PAN: panned hard left or right
Rs = 150 Ω MIC to CH INSERT OUT
INPUT GAIN: maximum MIC to STEREO OUT
MIC to GROUP OUT
MIC to GROUP to ST
MIC to REC OUT
MIC to MONITOR OUT, ST TO MONITOR
MIC to PHONES OUT
MIC to AUX SEND PRE
MIC to AUX SEND POST, EFFECT* SEND
CH 9/10, 11/12 LINE to STEREO OUT
CH 9/10, 11/12 LINE to GROUP OUT
CH 9/10, 11/12 LINE to AUX SEND PRE
CH 9/10, 11/12 LINE to AUX SEND POST, EFFECT* SEND
CH 13/14, 15/16 to STEREO OUT
CH 13/14, 15/16 to GROUP OUT
Rs = 150 Ω RETURN to STEREO OUT
RETURN to EFFECT/AUX* SEND
Rs = 600 Ω 2TR IN to STEREO OUT
MIC no load
-128
-88
-81
dBu
-64
-98
-70
-70
dB
60
84
94
62.2
94
83
76
86
dB
58
47
57
34
16
9
27.8
48
V
■ General Specifications
Input HPF
Input equalization
±15 dB maximum
Turn over/roll-off frequency of
shelving: 3 dB blow maximum
variable level.
PEAK Indicator
Internal Digital Effect
(Only MG166CX)
LED Level Meter
Power Supply Adaptor
Power Consumption
Dimensions (W x H x D)
Net Weight
CHs 1–11/12 80 Hz, 12 dB/oct
CHs 1–8 HIGH: 10 kHz (shelving)
MID: 250 Hz–5 kHz (peaking)
LOW: 100 Hz (shelving)
CH 9/10–15/16 HIGH: 10 kHz (shelving)
MID: 2.5 kHz (peaking)
LOW: 100 Hz (shelving)
Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for
CHs 9/10–15/16) reaches -3 dB below clipping (+17 dBu).
16 PROGRAM, PARAMETER control
Foot Switch (Digital Effect On/Off)
Pre MONITOR Level 2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB)
STEREO/GROUP/PFL bus PEAK lights if the signal level reaches 3 dB below the clipping level.
PA-30 AC 35 VCT, 1.4 A, Cable Length = 3.6 m
35 W (MG166CX), 30 W (MG166C)
478 mm x 102 mm x 496 mm
5.5 kg (MG166CX), 5.3 kg (MG166C)
All faders are nominal if not specified.
Output impedance of signal generator: 150 ohms
* MG166CX: AUX1, 2, EFFECT
MG166C: AUX1, 2, 3
MG206C/MG166CX/MG166C Owner’s Manual
77
Reference
Specifications
■ Input Specifications
Input Connectors
Gain
3kΩ
50–600Ω
Mics
10kΩ
600Ω
Lines
3kΩ
50–600Ω
Mics
10kΩ
600Ω
Lines
-16 dB
-34 dB
+10 dB
-60 dB
ST CH MIC INPUT
(CHs 9/10, 11/12)
ST CH LINE
INPUT
(CHs 9/10, 11/12)
Appropriate
Impedance
-60 dB
CH INPUT MIC
(CHs 1–8)
CH INPUT LINE
(CHs 1–8)
Input
Impedance
-16 dB
-34 dB
+10 dB
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 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
-80 dBu
(0.078 mV)
-60 dBu
(0.775 mV)
-40 dBu
(7.75 mV)
-36 dBu
(12.3 mV)
-16 dBu
(123 mV)
-6 dBu
(389 mV)
-54 dBu
(1.55 mV)
-34 dBu
(15.5 mV)
-14 dBu
(155 mV)
-10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
Connector Specifications
XLR-3-31 type (balanced [1 = GND, 2
= HOT, 3 = COLD])
TRS phone jack (balanced [Tip =
HOT, Ring = COLD, Sleeve = GND])
XLR-3-31 type (balanced [1 = GND, 2
= HOT, 3 = COLD])
Phone jack (unbalanced)
ST CH INPUT
(CHs 13/14, 15/16)
—
10kΩ
600Ω
Lines
-30 dBu
(24.5 mV)
-10 dBu
(245 mV)
+10 dBu
(2.45 V)
Phone jack (unbalanced)
RCA pin jack
CH INSERT IN
(CHs 1–8)
—
10kΩ
600Ω
Lines
-20 dBu
(77.5 mV)
0 dBu
(0.775 V)
+20 dBu
(7.75 V)
TRS phone Jack (unbalanced [Tip =
Out, Ring = In, Sleeve = GND])
RETURN (L, R)
—
10kΩ
600Ω
Lines
-12 dBu
(195 mV)
+4 dBu
(1.23 V)
+24 dBu
(12.3 V)
Phone jack (unbalanced)
2TR IN (L, R)
—
10kΩ
600Ω
Lines
-26 dBV
(50.1 mV)
-10dBV
(0.316V)
+10dBV
(3.16 V)
RCA pin jack
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms
* Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to
the maximum level. (All faders and level controls are at their maximum position.)
■ Output Specifications
Output
Impedance
Appropriate
Impedance
Nominal Level
Max. before
clipping
Connector Specifications
STEREO OUT (L, R)
75Ω
600Ω Lines
+4dBu (1.23 V)
+24 dBu (12.3 V)
XLR-3-32 type (balanced [1 = GND, 2 =
HOT, 3 = COLD])
TRS phone jack (balanced [Tip = HOT, Ring
= COLD, Sleeve = GND])
GROUP OUT (1–4)
150Ω
10kΩ Lines
+4dBu (1.23 V)
+20 dBu (7.75 V)
TRS phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
EFFECT/AUX* SEND
150Ω
10kΩ Lines
+4dBu (1.23 V)
+20 dBu (7.75 V)
TRS phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
CH INSERT OUT
(CHs 1–8)
75Ω
10kΩ Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
TRS phone jack (unbalanced [Tip = Out,
Ring = In, Sleeve = GND])
REC OUT (L, R)
600Ω
10kΩ Lines
-10 dBV (0.316 V)
+10 dBV (3.16 V)
RCA pin jack
TRS phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
Output Connectors
MONITOR OUT (L, R)
150Ω
10kΩ Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
PHONES OUT
100Ω
40Ω Phones
3 mW
75 mW
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms
* MG166CX: AUX1, 2, EFFECT
MG166C: AUX1, 2, 3
78
MG206C/MG166CX/MG166C Owner’s Manual
TRS phone jack
Reference
Specifications
■ Dimensional Diagrams (MG206C/MG166CX/MG166C)
444
102
5
488.5
496
98
478
43
41
Unit: mm
■ Rack Mounting
To mount the MG mixer, it requires 12U of rack space.
CAUTION
If the MG mixer is to be mounted with devices that tend
to generate heat, such as power amplifiers, be sure to
install ventilation panels to prevent high temperatures
from developing inside the mixer.
12U
* 12U (Approx. 534mm)
* 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.
MG206C/MG166CX/MG166C Owner’s Manual
79
(CH1 to 12)
[-60 to -16dBu]
MG206C/MG166CX/MG166C Owner’s Manual
-60dBu
-50dBu
-40dBu
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+20dBu
+30dBu
(CH17/18, 19/20)
ST CH INPUT
[6 to 50dB]
[-10dBV]
[-7.8dBu]
2TR IN
R
CH IN MIC Gain:Max [-60dBu]
CH IN LINE Gain:Max [-34dBu]
CH IN MIC Gain:Min [-16dBu]
ST CH IN MIC Gain:Max [-60dBu]
ST CH IN LINE Gain:Max [-34dBu]
ST CH IN MIC Gain:Min [-16dBu]
3-Stage EQ
3-Stage EQ
[0dBu]
PEAK
RE
YE
[0dBu]
YE
ON
ST CH IN
[-10dBu]
[-7.8dBu]
2TR IN [-10dBV]
RETURN [+4dBu]
Clip Level
CH Level
ST CH Level
[Nominal:-10dB]
Clip Level
[0dBu]
[0dBu]
[-10dBu]
CH Fader
[-10dBu]
CH Fader
ST CH INPUT 17/18-19/20
— Same as ST CH INPUT 13/14-15/16
3-Stage EQ
Clip Level
[0dBu]
ST CH IN LINE Gain:Min [+10dBu]
INV
INV
INV
HA
L
[6 to 50dB]
GAIN Trim
HA
INV
Clip Level
HPF
HA
HA
[0dBu]
TH+GAIN
CH9 to 12
GAIN Trim
HPF
[0dBu]
[-34 to +10dBu]
HPF
HPF
[-34 to +10dBu]
HPF
COMP
CH1 to 8
(RETURN1/2)
[+4dBu]
R
RETURN
L/MONO
[-34 to +10dBu]
LINE R
[-34 to +10dBu]
LINE L
HA
[-34 to +10dBu]
LINE R
[-34 to +10dBu]
LINE L/MONO
HA
[16 to 60dB]
GAIN Trim
CH IN LINE Gain:Min [+10dBu]
[-60 to -16dBu]
MIC
(CH13/14, 15/16)
ST CH INPUT
[-60 to -16dBu]
MIC
[0dBu]
INSERT
I/O
[-34 to +10dBu]
CH INPUT LINE
HPF
Hi G
[0dBu]
Lo G
Lo
HA
Mid f
MIC
PHANTOM
+48V
PEAK
RE
Mid G
Mid
80
Hi
RE
BA
BA
BA
AUX3
ST CH AUX *1
[Nominal:-6dB]
CH AUX *1
[Nominal:-6dB]
[-6dBu]
+15V
PRE
[0dBu]
[-6dBu]
[-6dBu]
[-6dBu]
ST/MONITOR
AUX 2 [-14dBu]
AUX 1 [-14dBu]
[-6dBu]
STEREO
PFL
AUX 4
AUX 3
AUX 2
AUX 1
[-6dBu]
G3–4 [0dBu]
G1–2 [0dBu]
ST
PFL
[-6dBu]
[-6dBu]
[-6dBu]
AUX2
G3–4 [0dBu]
[-6dBu]
+15V
PRE
[0dBu]
RETURN
2TR IN
[Nominal:-6dB]
AUX1
AUX2
AUX3
AUX4
STEREO L
STEREO R
GROUP 1
GROUP 2
GROUP 3
GROUP 4
PFL L
PFL R
PFL CTRL
AUX1
PRE AUX4
PRE
2TR IN
BAL/PAN
[0dBu]
PAN
ST
G1–2 [0dBu]
SUM
[0dBu]
SUM
SUM
[0dBu]
[0dBu]
[0dBu]
AUX SEND *1 [+4dBu]
[-10dBu]
LED Meter
GROUP OUT [+4dBu]
GROUP Fader
[Nominal:-10dB]
DR
[0dBu]
DR
[0dBu]
[-16dBu]
INV
INV
MONI/PHONES
LED Meter
ST Master
[Nominal:-10dB]
Clip Level
REC OUT [-7.8dBu]
ST OUT [+4dBu]
AUX SEND 2 to 4 — Same as AUX SEND 1
BA
SUM
SUM
BA
BA
Clip Level
MONITOR MIX
[-10dBu]
ST Fader
BA
BA
BA
BA
TO STEREO
GROUP Fader
[-10dBu]
GROUP Fader
AUX SEND 1
[-6dBu]
SUM
[0dBu]
SUM
[0dBu]
ST/GROUP
Clip Level
1-2/3-4
[0dBu]
AUX SEND *1
[Nominal:-6dB]
SUM
SUM
SUM
SUM
SUM
SUM
MONI/PHONES
[Nominal:-16dB]
[-10dBV]
REC OUT
[+4dBu]
[+4dBu]
[+4dBu]
PHONES [3mW @ 40ohms]
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+20dBu
+30dBu
AUX SEND 1
[3mW,40ohms]
PHONES
R
MONITOR OUT
L
R [-7.8dBu]
L
R
STEREO OUT
L
[+4dBu]
GROUP OUT
MONITOR OUT [+4dBu]
Clip Level
4
3
2
1
Reference
Specifications
■ Block Diagram and Level Diagram (MG206C)
[-6dBu]
[-60 to -16dBu]
MG206C/MG166CX/MG166C Owner’s Manual
-60dBu
-50dBu
-40dBu
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+20dBu
+30dBu
(CH9/10, 11/12)
L
R
L
R
CH IN MIC Gain:Max [-60dBu]
CH IN LINE Gain:Max [-34dBu]
CH IN MIC Gain:Min [-16dBu]
CH IN LINE Gain:Min [+10dBu]
FOOT SW
EFFECT ON/OFF
only MG166CX
[-10dBV]
[-7.8dBu]
2TR IN
[+4dBu]
RETURN
L/MONO
R
(CH13/14, 15/16)
[-10dBu]
ST CH INPUT
[-34 to +10dBu]
LINE R
[-34 to +10dBu]
LINE L/MONO
[-60 to -16dBu]
MIC
[0dBu]
INSERT
I/O
[-34 to +10dBu]
ST CH INPUT
(CH1 to 8)
CH INPUT LINE
HA
HPF
[6 to 50dB]
GAIN Trim
INV
INV
INV
INV
HA
HA
HA
HA
ST CH IN MIC Gain:Max [-60dBu]
ST CH IN LINE Gain:Max [-34dBu]
ST CH IN MIC Gain:Min [-16dBu]
ST CH IN
[-10dBu]
Clip Level
[0dBu]
[0dBu]
[0dBu]
[0dBu]
TH+GAIN
CH7 to 8 [0dBu]
COMP
ST CH IN LINE Gain:Min [+10dBu]
Clip Level
HPF
HPF
[-34 to +10dBu]
[16 to 60dB]
GAIN Trim
HA
3-Stage EQ
Lo G
MIC
3-Stage EQ
Hi G
CH1 to 6
Mid f
3-Stage EQ
3-Stage EQ
Lo
YE
[0dBu]
YE
ON
[-7.8dBu]
2TR IN [-10dBV]
RETURN [+4dBu]
IN
R out
L out
[-10dBu]
CH Fader
[-10dBu]
CH Fader
DIGITAL
EFFECT
(DSP)
Clip Level
YE
ON
[0dBu]
YE
CH Level
ST CH Level
[Nominal:-10dB]
Clip Level
ON
PARAMETER
[0dBu]
[0dBu]
PEAK
RE
PROGRAM
(1–16)
3-Stage EQ
Lo
HPF
Mid G
Mid
Mid
[0dBu]
PHANTOM
+48V
PEAK
RE
Hi
Hi
RE
BA
BA
BA
+15V
PRE
ST CH AUX *1
[Nominal:-6dB]
CH AUX *1
[Nominal:-6dB]
PFL
[-10dBu]
[0dBu]
[-6dBu]
[-6dBu]
[-6dBu]
[-6dBu]
AUX 2 [-14dBu]
AUX 1 [-14dBu]
ST
AUX*
PFL
AUX 2
AUX 1
G3–4 [0dBu]
G1–2 [0dBu]
ST
PFL
[-6dBu]
[-6dBu]
AUX 2
[-14dBu]
[-14dBu]
[-6dBu]
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
[0dBu]
[0dBu]
MG166C
[-10dBu]
BA
BA
BA
SUM
SUM
BA
BA
TO ST
BA
BA
BA
BA
GROUP Fader
[Nominal:-10dB]
Clip Level
LED Meter
DR
[0dBu]
DR
[0dBu]
ST Master
[Nominal:-10dB]
GROUP OUT [+4dBu]
Clip Level
EFFECT
AUX 3
AUX *
MONITOR MIX
AUX SEND*
[-6dBu]
AUX SEND 2
[-6dBu]
MG166CX
[-10dBu]
GROUP Fader
AUX SEND 1
[-6dBu]
MODEL
[0dBu]
[0dBu]
[0dBu]
SUM
[-10dBu]
GROUP Fader
STEREO Fader
[0dBu]
SUM
[0dBu]
STEREO/GROUP
[0dBu]
AUX SEND *1 [+4dBu]
Clip Level
SUM
SUM
SUM
1-2/3-4
[0dBu]
AUX SEND *1
[Nominal:-6dB]
STEREO L
STEREO R
GROUP 1
GROUP 2
GROUP 3
GROUP 4
PFL L
PFL R
PFL CTRL
RETURN
2TR IN
[Nominal:-6dB]
ST
[0dBu]
G1–2
[0dBu]
G3–4
[0dBu]
TO ST/TO MONITOR
AUX 1
BA
BA
2TR IN
EFFECT RETURN
+15V
AUX*
[-6dBu]
AUX2
+15V
PRE
[-6dBu]
G3–4 [0dBu]
G1–2 [0dBu]
[0dBu]
AUX1
AUX2
AUX*
AUX1
Same as CH9/10
BAL/PAN
[0dBu]
PAN
ST
INV
INV
REC OUT [-7.8dBu]
ST OUT [+4dBu]
[-16dBu]
MONI/PHONES
LED Meter
[3mW,40ohms]
[+4dBu]
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+20dBu
+30dBu
[+4dBu]
AUX SEND *
[+4dBu]
AUX SEND 2
PHONES [3mW @ 40ohms]
MONI/PHONES
[Nominal:-16dB]
[+4dBu]
PHONES
R
MONITOR OUT
L
[-10dBV]
[-7.8dBu]
REC OUT
[+4dBu]
AUX SEND 1
R
L
R
STEREO OUT
L
[+4dBu]
GROUP OUT
MONITOR OUT [+4dBu]
Clip Level
4
3
2
1
Reference
Specifications
■ Block Diagram and Level Diagram (MG166CX/MG166C)
81
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.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, 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
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
ASIA
POLAND
Yamaha Music Central Europe GmbH
Sp.z. o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: 022-868-07-57
THE NETHERLANDS/
BELGIUM/LUXEMBOURG
Yamaha Music Central Europe GmbH,
Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
FRANCE
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
BRAZIL
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,
CEP 04534-013 Sao Paulo, SP. BRAZIL
Tel: 011-3704-1377
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, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
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
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH,
Branch Switzerland
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Central Europe GmbH,
Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
CZECH REPUBLIC/SLOVAKIA/
HUNGARY/SLOVENIA
Yamaha Music Central Europe GmbH,
Branch Austria, CEE Department
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-602039025
Yamaha Musique France
BP 70-77312 Marne-la-Vallée 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 Música, 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 Göteborg, Sweden
Tel: 031 89 34 00
THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Music & 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.
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,
Kangnam-Gu, Seoul, Korea
Tel: 080-004-0022
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.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
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
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
OTHER EUROPEAN COUNTRIES
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
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
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2317
OCEANIA
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
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, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
OTHER COUNTRIES
Yamaha Music Gulf FZE
LOB 16-513, P.O.Box 17328, Jubel Ali,
Dubai, United Arab Emirates
Tel: +971-4-881-5868
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA17
Yamaha Pro Audio global web site:
http://www.yamahaproaudio.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2007 Yamaha Corporation
WJ74360 703POAP7.3-01A0
Printed in China