Owner’s Manual
Precautions
pages 4, 5
Quick Start Guide
Troubleshooting
pages 12 to 14
page 27
EN
Thank you for your purchase of the Yamaha MGP16X or MGP12X mixing console.
Please read this manual thoroughly to make the best use of the mixing console for the
longest possible period of time.
After reading this manual, please keep it available for future reference.
Explanation of Graphical Symbols
Explication des symboles
CAUT I ON
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product’s enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
L’éclair avec une flèche à l’intérieur d’un triangle équilatéral est
destiné à attirer l’attention de l’utilisateur sur la présence d’une «
tension dangereuse » non isolée à l’intérieur de l’appareil, pouvant
être suffisamment élevée pour constituer un risque d’électrocution.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the
product.
Le point d’exclamation à l’intérieur d’un triangle équilatéral est destiné à attirer l’attention de l’utilisateur sur la présence d’instructions
importantes sur l’emploi ou la maintenance (réparation) de l’appareil dans la documentation fournie.
The above warning is located on the rear of the unit.
L’avertissement ci-dessus est situé sur le arrière de l’appareil.
IMPORTANT SAFETY
INSTRUCTIONS
PRÉCAUTIONS CONCERNANT LA SÉCURITÉ
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Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or grounding-type plug.
A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
Only use attachments/accessories specified by the manufacturer.
Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving
the cart/apparatus combination to avoid injury from
tip-over.
Unplug this apparatus during lightning storms or
when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS APPARATUS TO RAIN OR MOISTURE.
(UL60065_03)
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Lire ces instructions.
Conserver ces instructions.
Tenir compte de tous les avertissements.
Suivre toutes les instructions.
Ne pas utiliser ce produit à proximité d’eau.
Nettoyer uniquement avec un chiffon propre et sec.
Ne pas bloquer les orifices de ventilation. Installer l’appareil conformément aux instructions du fabricant.
Ne pas installer l’appareil à proximité d’une source de chaleur comme un
radiateur, une bouche de chaleur, un poêle ou tout autre appareil (y compris un amplificateur) produisant de la chaleur.
Ne pas modifier le système de sécurité de la fiche polarisée ou de la fiche
de terre. Une fiche polarisée dispose de deux broches dont une est plus
large que l’autre. Une fiche de terre dispose de deux broches et d’une
troisième pour le raccordement à la terre. Cette broche plus large ou
cette troisième broche est destinée à assurer la sécurité de l’utilisateur.
Si la fiche équipant l’appareil n’est pas compatible avec les prises de
courant disponibles, faire remplacer les prises par un électricien.
Acheminer les cordons d’alimentation de sorte qu’ils ne soient pas piétinés ni coincés, en faisant tout spécialement attention aux fiches, prises
de courant et au point de sortie de l’appareil.
Utiliser exclusivement les fixations et accessoires spécifiés par le fabricant.
Utiliser exclusivement le chariot, le stand, le trépied,
le support ou la table recommandés par le fabricant
ou vendus avec cet appareil. Si l’appareil est posé sur
un chariot, déplacer le chariot avec précaution pour
éviter tout risque de chute et de blessure.
Débrancher l’appareil en cas d’orage ou lorsqu’il doit
rester hors service pendant une période prolongée.
Confier toute réparation à un personnel qualifié. Faire réparer l’appareil
s’il a subi tout dommage, par exemple si la fiche ou le cordon d’alimentation est endommagé, si du liquide a coulé ou des objets sont tombés à
l’intérieur de l’appareil, si l’appareil a été exposé à la pluie ou à de l’humidité, si l’appareil ne fonctionne pas normalement ou est tombé.
AVERTISSEMENT
POUR RÉDUIRE LES RISQUES D’INCENDIE OU DE DÉCHARGE ÉLECTRIQUE, N’EXPOSEZ PAS CET APPAREIL À LA PLUIE OU À L’HUMIDITÉ.
(UL60065_03)
2
MGP16X/MGP12X
Owner’s Manual
Main Features
Contents
Sophisticated analog circuits D-PRE (Discrete
Class-A MIC preamp)
Main Features ................................ 3
Mono input channels are equipped with Class-A discrete microphone
preamplifiers.
The head amplifier features an inverted Darlington circuit* used in
high-end audio devices, and reproduces low frequencies with exceptionally musical characteristics as well as sustained high frequencies.
Independent toggle switching of +48V phantom power and 26dB (pad)
on each channel.
PRECAUTIONS.................................4
Making the Most of Your Mixer............ 6
* Inverted Darlington circuit: An amplifying method for eliminating the
nonlinear characteristics of the amplifier element and suppressing the distortion.
The circuit features highly musical phase characteristics.
Setup ........................................... 8
EQ (equalizer)
The shelving EQ (low/high) on the mono input channels features
Xpressive EQ, which effectively models analog EQ utilizing Yamaha’s
famed VCM (Virtual Circuitry Modeling) technology. We analyzed
vintage EQ analog circuits and redesigned the technology specifically
for the MGP to create an EQ with exceptionally musical characteristics. Furthermore, the cutoff frequency can also be adjusted, enhancing
use of the EQ in sound reinforcement applications, and extending the
sonic control range of the mixer.
Digital effects — REV-X and SPX (pages 21, 28)
Two powerful digital effect blocks are built into the mixer: REV-X (8
types) and SPX (16 types). REV-X gives you a high-density, richly
reverberant sound ambience, with smooth attenuation, spread and
depth that work together to enhance the original sound. The versatile
SPX block features a variety of effect applications, such as reverb,
delay, and modulation effects, along with complex combinations of
multiple effects.
Convenient, practical functions for events – Ducker,
Leveler, and Stereo Image
(pages 14, 18, 19)
The mixer features three exceptionally
convenient features for the stereo input
channels: Ducker, Leveler and Stereo
Image. The Ducker function automatically lowers the level of background music to accommodate the voice of an announcer coming in on
another channel. The Leveler function automatically maintains a consistent sound volume, even when using sound sources that have different mastering levels, such as on an iPod/iPhone filled with a variety of
sources classified according to different genres and ages. Stereo Image
narrows the pan balance of the stereo sound source, and changes stereo
signals to mono. This is useful in restaurants and other spaces where
the left and right speakers are distantly positioned, or when you input
accompaniment sound to the left channel and vocal sound to the right
and want a more natural stereo image.
Balanced Cables and Unbalanced Cables ...........6
Connector Types...................................................6
Level Adjustment for Optimum Mix ....................... 7
Setup Examples.................................................... 8
Rack Mounting.................................................... 10
Security Cover Mounting .................................... 11
Quick Start Guide ...........................12
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Preparing the Power Supply ................... 12
Connections ........................................... 12
Powering Up the System ........................ 12
Getting Sound to the Speakers............... 13
Using the Built-in Digital Effects ............. 13
<Application>
Using the Ducker function....................... 14
Controls and Connectors...................15
Front Panel ......................................................... 15
Rear Panel .......................................................... 16
Where Your Signal Goes
Once It’s Inside the Box .......................... 17
Channel Control Block ........................................ 18
Master Control Block........................................... 20
About the Detailed Setting Mode ...................... 21
Rear Input/Output Block ..................................... 25
Troubleshooting .............................27
Appendix......................................28
Digital Effect Program List................................... 28
Jack List.............................................................. 29
Specifications...................................................... 30
Dimensions ......................................................... 32
Block Diagram and Level Diagram...................... 33
USB port for playing and charging your iPod/iPhone
(page 20)
Accessories
The mixer has a built-in USB port (at top) for connection to an iPod/
iPhone. Digital audio output from the iPod/iPhone can be directly input
to the unit, and the iPod/iPhone can be charged while connected.
• AC power cord (1)
• Rack mount kit (1) (MGP12X only)
• Owner’s manual (1)
MGP16X/MGP12X
Owner’s Manual
3
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
• 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.
• Only use the voltage specified as correct for the device. The required voltage
is printed on the name plate of the device.
• Use only the supplied power cord/plug.
If you intend to use the device in an area other than in the one you purchased,
the included power cord may not be compatible. Please check with your
Yamaha dealer.
• Check the electric plug periodically and remove any dirt or dust which may
have accumulated on it.
• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
• Do not expose the device to rain, use it near water or in damp or wet
conditions, or place on it any containers (such as vases, bottles or glasses)
containing liquids which might spill into any openings. If any liquid such as
water seeps into the device, turn off the power immediately and unplug the
power cord from the AC outlet. Then have the device inspected by qualified
Yamaha service personnel.
• Never insert or remove an electric plug with wet hands.
Fire warning
• Do not put burning items, such as candles, on the unit. A burning item may
fall over and cause a fire.
If you notice any abnormality
Do not open
• This device contains no user-serviceable parts. Do not open the device or
attempt to disassemble the internal parts or modify them in any way. If it
should appear to1 be malfunctioning, discontinue use immediately and have
it inspected by qualified Yamaha service personnel.
• When one of the following problems occur, immediately turn off the power
switch and disconnect the electric plug from the outlet. Then have the device
inspected by Yamaha service personnel.
- The power cord or plug becomes frayed or damaged.
- It emits unusual smells or smoke.
- Some object has been dropped into the instrument.
- There is a sudden loss of sound during use of the device.
• If this device 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
• Before moving the device, remove all connected cables.
• 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.
• Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
Location
• 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 and
sides 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 place the device in a location where it may come into contact with
corrosive gases or salt air. Doing so may result in malfunction.
PA_en_1
4
MGP16X/MGP12X
Owner’s Manual
• 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 at 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.
• If the device is mounted in an EIA standard rack, carefully read the section
“Precautions for Rack Mounting” on page 10. Inadequate ventilation can
result in overheating, possibly causing damage to the device(s), malfunction,
or even fire.
Connections
• 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.
1/2
Maintenance
Yamaha cannot be held responsible for damage caused by improper use
or modifications to the device, or data that is lost or destroyed.
• Remove the power plug from the AC outlet when cleaning the device.
Handling caution
Always turn the power off when the device is not in use.
• Do not insert your fingers or hands in any gaps or openings on the device
(vents, ports, etc.).
• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into
any gaps or openings on the device (vents, ports, 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 rest your weight on the device or place heavy objects on it, and avoid
use excessive force on the buttons, switches or connectors.
• Do not use speakers 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.
NOTICE
To avoid the possibility of malfunction/damage to the product, damage to data, or damage to other property, follow the
notices below.
 Handling and Maintenance
• Do not use the device in the vicinity of a TV, radio, stereo
equipment, mobile phone, or other electric devices. Otherwise, the device, TV, or radio may generate noise.
• 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, damage to the internal components
or unstable operation.
• Do not place vinyl, plastic or rubber objects on the device,
since this might discolor the panel of this device.
• When cleaning the device, use a dry and soft cloth. Do
not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.
• Condensation can occur in the device due to rapid, drastic changes in ambient temperature—when the device is
moved from one location to another, or air conditioning is
turned on or off, for example. Using the device while condensation is present can cause damage. If there is reason
to believe that condensation might have occurred, leave
the device for several hours without turning on the power
until the condensation has completely dried out.
• 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 apply oil, grease, or contact cleaner to the faders.
Doing so may cause problems with electrical contact or
fader motion.
• 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.
 Connectors
Information
 About copyrights
• Copying of the commercially available musical data including but
not limited to MIDI data and/or audio data is strictly prohibited
except for your personal use.
 About this manual
• The illustrations as shown in this manual are for instructional purposes only, and may appear somewhat different from those on
your device.
• Throughout this manual, all panel illustrations show the panel of
the MGP16X.
• In this manual the term “MGP” refers to both the MGP16X and
MGP12X. In cases where different features need to be described
for each model, the MGP16X feature will be described first, followed by the MGP12X feature in brackets: MGP16X (MGP12X).
• The company names and product names in this manual are the
trademarks or registered trademarks of their respective companies.
iPodTM, iPhoneTM
iPhone, iPod, iPod classic, iPod nano, and iPod touch are
trademarks of Apple Inc., registered in the U.S. and other
countries.
“Made for iPod” and “Made for iPhone” mean that an electronic accessory has been designed to connect specifically
to iPod or iPhone respectively, and has been certified by the
developer to meet Apple performance standards. Apple is
not responsible for the operation of this device or its compliance with safety and regulatory standards. Please note that
the use of this accessory with iPod or iPhone may affect
wireless performance.
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.
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MGP16X/MGP12X
Owner’s Manual
5
Making the Most of Your Mixer
Balanced Cables and Unbalanced Cables
Two types of cables can be used to connect microphones, electronic instruments, and other audio sources to the mixer’s inputs,
as well as to connect the mixer’s outputs to a power amplifier or
related gear: balanced or unbalanced.
Balanced cables are highly resistant to noise, and are the best
choice for low-level signals such as the output from microphones,
as well as for long cable runs. Unbalanced cables are generally
used for short runs from line-level sources such as synthesizers.
Connector Types
XLR connectors
This 3-pin connector is resistant to externally induced noise, and
is used primarily for balanced connections. With properly
designed receiving circuitry, cables with this type of connector
can also be used for unbalanced signals. XLR type connectors are
the standard for microphone connections as well as most professional audio gear.
Cable Guidelines
Microphones
Balanced is best.
Short line-level cables
Unbalanced cable is fine in a relatively noise-free environment.
Long line-level cables
Balanced is best.
Male
Female
Phone jacks
Phone jacks are available in mono and stereo versions. Stereo
types are also known as “TRS” connectors (Tip-Ring-Sleeve),
and are used for stereo headphone jacks, insert jacks, and also to
carry balanced signals in many cases. Unbalanced types are used
for mono signals -guitar cables are a common example.
Stereo/TRS phone plug
Mono phone plug
RCA Pin Connectors
This type of unbalanced connector is most commonly found on
home audio and video equipment. RCA type pin jacks are often
color coded: white for left audio channel and red for right audio
channel, for example.
White
Red
6
MGP16X/MGP12X
Owner’s Manual
Making the Most of Your Mixer
Level Adjustment for Optimum
Mix
Equalizer Tips
The best advice that can be given regarding equalization while
recording is simply to use as little equalization as possible. If you
want a little more presence you can turn the HIGH end up a bit.
Or you can boost the bass a little if you feel the low end is lacking. During recording it’s better to use EQ sparingly for compensation only.
Comp settings
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. Compression can also be applied to guitar
tracks to add extra sustain. Too much compression can be a cause
of feedback, however, so use it sparingly.
Output
0 (Min)
10 (Max)
 Cut for a Cleaner Mix
For example: pianos 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 piano 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.
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
of some musical instruments.
frequency ranges
Cymbal
Input
Use the High-pass Filter for Microphone
Input
As the name implies, a “high-pass filter” allows only signals
above a certain frequency to pass. Conversely, signals below that
“cutoff frequency” are attenuated. When an MGP high-pass filter
is turned on, signals below 100Hz are attenuated.
This can be useful for minimizing low-frequency breath noise
from a vocalist, as well as handling noise, or rumble transmitted
via the microphone stand. It is generally a good idea to turn the
high-pass filter on for microphone channels.
Piano
Start with the Featured Part
Bass drum
Snare drum
Bass guitar
Guitar
Trombone
Trumpet
20 50 100 200
500
1k 2k
5k
10k
20k (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.
You can start working on a mix from almost any part, but it makes
the most sense to start with the main instrument or vocal. Set up
an initial level for the main part, and then build the rest of the mix
around it.
For example, if you’re mixing a piano trio with a vocalist, begin
by setting the level of the vocal track at around the nominal level,
and then gradually add the other instruments. Your choices will
also be influenced by the type of music you are working on. If the
song is a ballad you might want to add the piano to the mix after
the vocal, and then add the bass and drums. If it’s a more rhythmically oriented piece you could add the bass and drums first, and
then the piano. Whatever best serves the music is right.
MGP16X/MGP12X
Owner’s Manual
7
Setup
Setup Examples
1. Sound Reinforcement for
Live Performance
(MGP16X) USB
: iPod/iPhone signal  CH15/16
(MGP12X) USB
: iPod/iPhone signal  CH11/12
iPod/
iPhone
CD player
Computer/Audio interface
Powered monitor speakers
Headphones
Synthesizer
Exciter
DI
Bass
Effect processor
Portable
recorder
Microphone x 4
Microphone x 2
Powered speakers
Guitar
Powered monitor
speakers (For musician
monitoring)
8
MGP16X/MGP12X
Owner’s Manual
Drum
Setup
2. For Events and Parties
(MGP16X) USB
: iPod/iPhone signal  CH15/16
(MGP12X) USB
: iPod/iPhone signal  CH11/12
iPod/
iPhone
DJ mixer
DVD player (voice)
CD player
Headphones
Computer/Audio interface
Instrument, Microphone
CH8 (for MC)
* MGP12X: CH4
Power amp
Powered speakers
Speakers
MGP16X/MGP12X
Owner’s Manual
9
Setup
Rack Mounting
The unit requires at least 11U* of rack space. To take into
account the cable connections, we recommend to ensure at least
13U* of rack space.
 Mounting the MGP16X/MGP12X
1.
Two metal rack-mount brackets are screwed
onto the unit. Use a screwdriver to remove
these brackets.
* 11U corresponds to about 489mm and 13U is about 578mm.
 Precautions for Rack Mounting
This unit is rated for operation at ambient temperatures ranging
from 0 to 40 degrees Celsius. If you install this unit along with
other devices in a poorly ventilated rack, the ambient temperature
inside the rack may rise, resulting in inefficient performance.
Be sure to rack-mount in the following conditions so the unit does
not overheat.
• When mounting the unit in a rack with devices such as power
amplifiers that generate a significant amount of heat, leave
more than 1U of space between the MGP and other equipment.
Also either leave the open spaces uncovered or install appropriate ventilating panels to minimize the possibility of heat
buildup.
• To ensure sufficient airflow, leave the rear of the rack open and
position it at least 10 centimeters from walls or other surfaces.
If the rear of the rack cannot be left open, install a commercially available fan or similar ventilating option to secure sufficient airflow. If you’ve installed a fan kit, there may be cases in
which closing the rear of the rack will produce a greater cooling effect. Refer to the rack and/or fan unit manual for details.
2. Turn the brackets over, and fasten them into
place again using the same screws.
e
q
w
e
q
w
Fasten them to the mixer in order (as shown): q center,
w front, and e back.
CAUTION
Be sure to use the same screws that were removed in step
1. Using other screws can cause damage.
 MGP16X
3. Mount the unit into the rack, and fasten it into
place.
13U
11U
10
MGP16X/MGP12X
Owner’s Manual
Setup
 MGP12X
Security Cover Mounting
3. Prepare the included rack-mount kit (2 supports and 6 screws).
In order to prevent the control knobs of the front panel from being
operated inadvertently, you can attach a protective cover using
four screw holes on the unit. (Size: M3; horizontal spacing:
410mm for MGP16X and 311mm for MGP12X; vertical spacing:
208.5mm.) Yamaha does not sell such a cover; however, you can
easily make one yourself and attach it to the front cover.
When mounting a cover make sure that the screws used do not go
deeper than 12 millimeters into the front panel. Also, to ensure
that the cover does not come in contact with the panel controls,
leave a space of about 20–25 millimeters between the front panel
and the cover.
4. Use the included screws to fasten the rackmount supports with a triangular mark ( ) on
the top side, to the installed rack-mount brackets in step 2.
e
q
w
Fasten them to the mixer in order (as shown): q center, w
front, and e back.
Similarly fasten the other side as well.
CAUTION
Be sure to use the included screws with the MGP12X.
Using other screws can cause damage.
5. Mount the unit into the rack, and fasten it into
place.
13U
11U
MGP16X/MGP12X
Owner’s Manual
11
Quick Start Guide
We’ll begin this guide by connecting a pair of speakers
and generating some stereo output. Note that the operations and procedures will vary somewhat according to
the input devices you are using.
Step 1 Preparing the Power Supply
1.
Make sure that the power switch of the unit is
set to the “ ” position (off).
2. Connect the microphones and/or instruments
you intend to use.
For details on making connections, refer to the “Setup Examples” on pages 8, 9.
Front Panel
Rear Panel
When using a condenser microphone,
set the +48V phantom
switch to ON (page 18).
2. Connect the socket of the included power cord
to the [AC IN] connector.
3. Plug the power cord into a power outlet.
Step 2 Connections
1.
Turn all the faders and gain controls completely down.
GAIN controls
Power switch (rear panel)
DI
Although electric guitars and basses can be connected directly
to the mixer’s inputs, the sound is likely to be thin and possibly
noisy. For best results with these types of instruments use a DI
box (direct box) or amp simulator between the instrument and
the mixer.
Step 3 Powering Up the System
To prevent an unwanted burst of noise from the
speakers, power up the devices in the following
order: peripheral devices (instrument, microphone, iPod)  MGP mixer  power amps (or
powered speakers).
Reverse this order when turning the power off.
CAUTION
• If you are using condenser microphones that require phantom power, turn the mixer’s +48V switch on before turning
on the power to the power amps or powered speakers. See
page 18 for details.
Faders
• Be sure to turn the power on/off in the order given in Step 3
above every time you use the device. Failure to do so may
result in loud noise bursts that can damage your equipment,
your ears, or both.
12
MGP16X/MGP12X
Owner’s Manual
Quick Start Guide
Step 4 Getting Sound to the
Speakers
Step 5 Using the Built-in Digital
Effects
1.
1.
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 level meter indication occasionally rises
above the “<” (0) level.
Note that the PHONES jack outputs the pre-fader signal from
all channels for which the PFL switch is ON, so that those signals can be monitored via the headphones.
2. Turn on the ON and ST switches for each channel you are using.
3. Make sure that all PFL and AFL switches are
set to off (
4. Turn on (
).
Turn the [PROGRAM] knob to select the
desired effect, and then press the knob to
enable it.
For details about available effects, see the Digital Effect Program List on page 28.
2. Turn on (
) the FX1/FX2 ON button.
The button lights up when it is turned on.
3. Set the FX1/FX2 RTN fader to the “0” position.
4. Use the channel FX1/FX2 controls to adjust the
effect depth for each channel.
5. Use the FX1/FX2 RTN fader to adjust the overall effect depth.
) the ON switch for the STEREO
master.
5. Raise the STEREO master fader to the “0”
You can use the PARAMETER control to adjust effect
parameters such as reverb time and delay time. For details
about the parameters of each effect that can be adjusted with
the PARAMETER control, see page 28.
position.
6. Set the channel faders to create the desired
initial balance.
7.
Adjust the overall volume of the STEREO master fader.
4
FX1/FX2 controls
PARAMETER
controls
PROGRAM knobs
5
1
The overall headphone level is adjusted by the MONITOR/
PHONES control.
NOTE
If the PEAK indicator lights frequently, slightly lower the channel faders to avoid distortion.
Level meter
MONITOR PHONES control
STEREO master ON switch
1,7
7
4
GAIN controls
1
Channel ON
switches
FX1/FX2 RTN faders
3,5
2
ON buttons
2
PEAK
indicators
1
2
Channel ST
switches
3
PFL switches
6
Channel faders
3
AFL switches
5,7
STEREO master fader
MGP16X/MGP12X
Owner’s Manual
13
Quick Start Guide
 Built-in digital effects
Your mixes can be further refined by adding ambience effects
such as reverb or delay.
The MGP’s internal effects can be used to add reverb or delay
to individual channels in the same way as external effects processors.
Reverb and Delay Time
Small adjustments to the reverb/delay time can actually have a
significant effect on the sound. 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 up-tempo 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 (e.) 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 washed-out 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.”
You don’t want reverb to dominate the mix unless you are trying to create the effect of a band in a cave-which is a perfectly
legitimate creative goal if that’s the sort of thing you’re aiming
for.
Step 6 <Application>
Using the Ducker function
1.
Connect a music player or device for playing
background music.
Connect the device to CH13/14 or CH15/16 on the MGP16X,
and to CH9/10 or CH11/12 on the MGP12X.
To connect an iPod/iPhone, use the USB terminal of the
MGP, and then set to the TO CH15/16 (TO CH11/12) switch
to USB (
).
2. Turn on (
) the DUCKER switch for each
channel you are using, and then adjust the
channel’s input to an appropriate level.
3. Connect the microphone to the SOURCE channel (MGP16X: CH8, MGP12X: CH4).
4. Adjust the input of the microphone to an
appropriate level.
5. Turn on (
) the ON switch of the SOURCE
channel, and then raise the channel fader to
around “0” (nominal).
6. Play the background music, and listen to confirm that the sound volume automatically turns
down when you speak into the microphone.
NOTE
• The volume on the SOURCE channel is detected after fader
adjustment.
It is affected by the setting of ON switch and/or the channel
fader.
• If you want to make custom changes to the automatic sound
attenuation, refer to “About the Detailed Setting Mode” on
page 21.
TO CH15/16 (TO CH11/12) switch 1
DUCKER switches
2
CH13/14, CH15/16
(CH9/10, CH11/12)
1
2
GAIN controls
4
GAIN control
5
ON switch
5
Channel fader
3
14
MGP16X/MGP12X
Owner’s Manual
SOURCE channel
Controls and Connectors
Front Panel
4
6
8
7
1
2
3
5
9
* Throughout this manual, all panel illustrations show the panel of the MGP16X. On the MGP12X, there are four channels in the
mono input section (see 1 below) and 12 channels in the channel I/O connectors section (see 10 on the next page).
Channel Control Block
Master Control Block
1. Mono input section ............................................. page 18
4. iPod/iPhone section............................................ page 20
2. Mono and stereo input section ........................... page 18
5. Built-in digital effects section .............................. page 21
3. Stereo input section ............................................ page 18
6. Meter/PHONES section...................................... page 23
7. RETURN/2TR IN section.................................... page 23
8. SEND MASTER section ..................................... page 24
9. GROUP/STEREO section .................................. page 24
MGP16X/MGP12X
Owner’s Manual
15
Controls and Connectors
Rear Panel
12
11
Rear Input/Output Block
10. Channel I/O connectors section ....................... page 25
11. Master I/O connectors section.......................... page 26
12. Power section ................................................... page 26
16
MGP16X/MGP12X
Owner’s Manual
10
Controls and Connectors
Where Your Signal Goes Once It’s Inside the Box
The purpose of configuring an audio system around a mixer is to collect signals from all channels and mix their levels and other settings
to achieve a good balance. The following simplified mixer block diagram shows how the input signal flows once it’s inside the mixer. For
an overall block diagram of the MGP, see page 33.
Simplified Mixer Block Diagram
Input channel
Master section
PEAK
CH Fader
INPUT
HA
EQ
LED meter
q Head amp
w Equalizer
e PEAK
indicator
GROUP
Fader
r Channel
fader
STEREO
Fader
CHs INPUT
OUTPUT
SUM
t Bus
y Master control and
level meter
 Input channel
 Master section
q Head amp
t Bus (Summing Amplifier)
The very first stage in any mixer, and usually the only stage
with significant “gain” or “amplification.” The head amp has
a “gain” control that adjusts the mixer’s input sensitivity to
match the level of the source. Small signals (e.g. mics) are
amplified, and large signals are attenuated.
w Equalizer
An equalizer boosts (amplifies) or cuts (attenuates) certain
frequency ranges to shape the tone. It can be used to modify
the tone to suit the acoustic characteristics of a room, to make
creative sounds, or for many other purposes. An equalizer
could be a high pass filter that cuts the sound below a specified frequency.
e PEAK indicator
When the level of an input signal exceeds the level that can be
handled by the mixer’s head amp or equalizer, distortion and
noise will result. The PEAK indicators are used to visually
check the signal level to ensure no overload occurs.
If the PEAK indicator lights continuously, make sure that signals are not amplified too much by the equalizer, and if
needed, adjust the GAIN control of the head amp to reduce
the level.
It is important to know the mixer stage for which the PEAK
indicators are indicating signal levels. The PEAK indicator of
this unit detects the signal after the head amp and EQ stage.
This is where the actual “mixing” takes place. Signals from
all of the mixer’s input channels are “summed” (mixed)
together here.
The signals flow in each channel from top to down after being
adjusted by the level control, and then these signals are
summed (mixed) from left to right. Finally, the overall level is
adjusted by the master control located at far right.
The operation of summing from left to right is the role of the
bus (summing amplifier).
y Master control and level meter
The master controls, specifically, the STEREO fader and
GROUP faders, are the means used to adjust the level of all
signals from all of the mixer’s input channels. The level meter
LED shows the level of the signal flowing to the STEREO
bus.
r Channel fader
A channel fader enables you to adjust the level of the corresponding input channel signal that is going to be routed to the
buses (excluding a pre-fader signal). It is the most often used
control during performance.
MGP16X/MGP12X
Owner’s Manual
17
Controls and Connectors
q +48V switch and indicator
Channel Control Block
This switch toggles phantom power on and off. When this
switch is turned on (
), the mixer supplies DC +48V
power to pins 2 and 3 of all XLR input jacks. Turn this switch
on when using one or more phantom-powered condenser
microphones. The indicator lights when it is turned on.
Mono input section
Mono and stereo input section
Stereo input section
CAUTION
• Be sure to leave this switch off (
) if you do not need
phantom power. Humming or damage may result if you
connect to an unbalanced device or to an ungrounded
transformer while this switch is on.
Mono
channels
Mono/stereo
channels
Stereo
channels
1–8 (MGP16X),
1–4 (MGP12X)
9–12 (MGP16X),
5–8 (MGP12X)
13–16 (MGP16X),
9–12 (MGP12X)
q
e
w
y
q
e
y
• When turning the switch on, make sure that only a condenser microphone is connected to the XLR input jacks.
Devices other than condenser microphones may be
damaged if connected to the phantom power supply.
This precaution does not apply to balanced dynamic
microphones, however, as these will not be affected by
phantom power.
r
t
• To prevent damage to speakers, be sure to turn off power
amplifiers (or powered speakers) before turning this
switch on or off. It’s also a good idea to turn the mixers
output controls - the STEREO master and GROUP (1-2,
3-4) faders - all the way down when turning phantom
power on. Neglect of these precautions may result in
large noise bursts that may damage your equipment,
your ears, or both.
y
i
u
w 26dB (PAD) switch
o
o
o
!0
!0
!0
!1
!1
!1
!2
!2
!2
!3
!3
!3
!4
!4
!4
!5
!5
!5
!6
!6
!6
!7
!7
!7
!8
!8
!8
When this switch is turned on (
), the input signal from
the MIC/LINE jack of the mono channel is attenuated by
26dB.
Turn this switch off (
) if you’ve connected a microphone
or other device with a low input level to the channel. Turn it
on (
) if you’ve connected a line-level device.
e
(High Pass Filter) switch
Turning this switch on (
) will apply a high-pass filter that
attenuates frequencies below 100Hz in the signal by a slope
of 12dB/octave.
r DUCKER switch
When this switch is turned on (
), the volume of the stereo
channels is automatically lowered when a signal exceeding a
certain level is input to the SOURCE channel (MGP16X:
CH8, MGP12X: CH4). You can use this switch, for example,
when you want to have the volume of background music
automatically lowered when making an announcement on the
microphone. For effective use of this switch, see Step 6 on
page 14. The switch lights when it is turned on.
NOTE
18
MGP16X/MGP12X
Owner’s Manual
You can adjust the attenuation of the Ducker function in the
detailed setting mode (see column on page 21).
Controls and Connectors
t LEVELER switch and indicator
When playing music from an iPod/iPhone or other audio
players, the actual sound output level may differ for each
song depending on the assigned category. Turning this switch
on (
) lets you have the volume adjusted automatically to
a certain level, preventing sudden jumps or dips in the level.
The indicator lights when it is turned on.
NOTE
If an audio player other than iPod/iPhone is connected to the
input jacks (LINE) on the rear panel, initially adjust the input
level according to the softest part (lowest level) of the song,
and then turn on the LEVELER switch. Adjust the input level so
that the level meter indication occasionally rises above the “<”
(0) level while the PFL switch is on.
o Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channel’s high, mid, and
low frequency bands.
Setting the knob to the “t” 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 upper knob sets the center frequency for the mid range, while the lower knob sets the
amount of attenuation or boost (counterclockwise/clockwise)
for the range. For the CH9/10 and CH11/12 (on the
MGP16X), and CH5/6 and CH7/8 (on the MGP12X), the
attenuation/boost can only be set at a fixed 2.5kHz center frequency.
The following table shows the EQ type, frequency, and cut/
boost range for each of the three bands.
y GAIN control
Adjusts the sensitivity of the input signal. Monaural channels
have a 26dB switch (w) that lets you change the range of this
control. The adjustable sensitivity range is as follows.
Mono channel
26dB switch
Range
ON
-34dB to +10dB
OFF
-60dB to -16dB
Stereo channel
-34dB to +10dB
u COMP control and indicator
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. The COMP indicator will light when the compressor operates.
NOTE
Avoid setting the compression too high, as the higher average
output level that results may lead to feedback.
i STEREO IMAGE switch
This switch selects the output signal by switching the input
stereo signal to one of the following three signal types.
• MONO : Mono signal
• BLEND : Stereo signal in which left and right inputs
are mixed in a certain percentage for a more natural stereo image.
• STEREO : Stereo signal (original, as is)
Band
Type
Frequency
HIGH
Shelving
8kHz
MID
Peaking
2.5kHz*
LOW
Shelving
125Hz
Cut/Boost
range
±15dB
* The MID frequency can be adjusted from 250Hz to 5kHz.
The MID frequency is 2.5kHz when the MID frequency
control is set at the center position.
!0 AUX1 PRE, AUX2 controls
These knobs adjust the channel’s signal levels sent to AUX
buses 1 and 2. Each knob controls the signal sent to the corresponding AUX bus. These knobs should generally be set
close to the “t” (nominal) position. The AUX1 control
adjusts the signal before the channel fader (pre-fader). The
signal adjusted by the AUX2 control is determined by the
PRE switch (!1).
!1 PRE switch
This switch selects whether the signal sent to the AUX 2 bus
is taken after the equalizer but before the channel fader (prefader), or after the channel fader (post-fader). When the
switch is on (
), the mixer sends the pre-fader signal to the
AUX2 bus, so that the AUX2 output is not affected by the
fader.
!2 FX1, FX2 controls
Adjusts the level of the signal (post-fader) sent from the channel into the FX bus. These knobs should generally be set
close to the “t” position.
NOTE
• To send the signal to the bus engage the ON switch (!4).
• On stereo channels, the LINE L (odd) and LINE R (even)
input signals are mixed before moving into the bus.
MGP16X/MGP12X
Owner’s Manual
19
Controls and Connectors
!3 PAN control
PAN/BAL control
BAL control
The PAN control knob determines the stereo positioning of
each mono channel signal in the GROUP 1-2, 3-4 buses or in
the stereo L and R buses. For example, rotating the knob
toward L moves the sound to the left (depending on the location of the knob).
The BAL control knob sets the balance between left and right
stereo channels. For example, rotate the knob toward L to
increase the volume level of the left or Groups 1 and 3, and
decrease the level of the right or Groups 2 and 4.
!4 ON switch
Turn this switch on (
) to send the respective channel’s
signal to the buses. The switch lights when on.
!5 Input Meter
The LEDs indicate the input channel’s post-equalizer signal
level. The SIG indicator lights when a signal is being input
into the channel. The PEAK indicator lights when the input
signal level is 3dB below clipping.
!6 Bus assign switches
These switches determine the bus(es) to which each channel’s
signal is sent. Press the switch in (
) to output the signal to
the corresponding buses.
• 1-2, 3-4 switches: Assign the channel’s signal to the
GROUP1-2, 3-4 buses.
• ST switch: Assigns the channel’s signal to the STEREO L and R buses.
NOTE
To send the signal to each bus, engage the ON switch.
!7 PFL switch and indicator
When the PFL (Pre-Fader Listen) switch is on (
), the
indicator will light and the channel pre-fader signal is output
to the MONITOR OUT and PHONES jacks for monitoring.
!8 Channel fader
Adjusts the level of the channel signal. Use these controls to
adjust the balance between the various channels.
Master Control Block
iPod/iPhone section
w
q USB connector and indicator
This is a USB port dedicated for iPod/iPhone use. Using the
USB cable that came with the iPod/iPhone, connect the iPod/
iPhone. The indicator lights when the mixer recognizes the
iPod/iPhone.
If the mixer does not recognize the device or if a non-compliant iPod/iPhone is connected, the indicator remains off.
For details on supported iPod/iPhone models, see “Supported
iPod/iPhone models” on page 30.
CAUTION
• Use the genuine Apple Dock Connector USB Cable for
the iPod/iPhone connection.
• Connect the USB connector to the iPod/iPhone before
turning the mixer power on.
• When connecting to an iPod/iPhone, allow at least 6 seconds to pass between turning the mixer on and off and
plugging or unplugging the USB cable.
• Please do not use a USB hub.
• The mixer’s USB port is dedicated for iPod/iPhone use
only. Please do not connect other USB devices.
NOTE
• While the indicator lights, the iPod/iPhone is charged.
• If you connect your iPhone, an incoming call cause a ringing
sound to be output. In order to prevent this, we recommend
that your iPhone’s “Airplane” mode be turned on.
w Routing assign switches
Determine the destination of the input signal. The switch setting and the destination is shown below.
Switch
Switch
Setting
Audio Signal
Input Source
TO CH15/16
(MGP16X)
ANALOG
CH15/16 jacks
(MGP16X)
NOTE
To reduce noise, set the fader sliders for any unused channels
all the way down.
q
TO CH11/12
(MGP12X)
CH11/12 jacks
(MGP12X)
USB
ANALOG
iPod/iPhone
Output Destination Channels
CH15/16
(MGP16X)
Ch11/12
(MGP12X)
2TR IN jacks
TO 2TR IN
2TR IN
USB
iPod/iPhone
NOTE
• The volume of an iPod/iPhone which was assigned to CH15/
16 (CH11/12) cannot be controlled by the GAIN control.
• Use the detailed setting mode in the column on the next
page to attenuate the playback level from an iPod/iPhone
assigned to CH15/16 (CH11/12).
20
MGP16X/MGP12X
Owner’s Manual
Controls and Connectors
Built-in digital effects section
 About the Detailed Setting Mode
The detailed setting mode lets you adjust the attenuation of
the CH15/16 (CH11/12) for adjusting the play level from the
iPod/iPhone, and also adjust the range of the Ducker function.
q
Procedure
1.
Press both FX1 and FX2 PROGRAM knobs simultaneously for at least two (2) seconds.
2. “P” flashes on the FX1 LED display and “A” or “d”
lights on the FX2 LED display.
w
The mixer enters the detailed setting mode. The available
detailed setting parameters, LED display, and range are as
follows.
Parameter
LED display
e
Range
-24dB – 0dB
CH15/16 (CH11/12)
Attenuation
(Attenuator)
A
-12dB
-19dB
-7dB
-24dB
0dB
r
-70dB – 0dB
Ducker Attenuation
(Ducker Range)
d
-35dB
-56dB
-70dB
-21dB
0dB
t
* The Ducker attenuation range is common for CH13/14 and
CH15/16 (MGP12X: CH9/10 and CH11/12).
3. Use the PROGRAM knob to select the parameter (“A”
or “d”) you want to change.
y
4. Use the FX2 PARAMETER control to adjust the attenuation.
Please refer to the above table for the range.
5. Press the PROGRAM knob again.
The mixer saves the settings, and then exits the detailed
setting mode.
u
NOTE
• The mixer retains the last setting made, even after the
power is turned off.
i
• To restore the default settings, press the TAP button while
in the condition of step 3 above.
• When the parameter setting is different from the default
setting (i.e., when you’ve changed the parameter value
from the default), a dot indication is displayed at the lower
right of the FX2 program number.
o
!0
MGP16X/MGP12X
Owner’s Manual
21
Controls and Connectors
q Effect program display
y ON button
Displays the program number selected with the PROGRAM
knob (w).
This button turns the corresponding internal digital effect on
or off. When the function is on, the button lights.
NOTE
w PROGRAM knob
Selects one of 8 internal effects from FX1 and 16 internal
effects from FX2. Turn the knob to select the desired effect,
and then press the knob to enable it.
See page 28 for details about the internal effects.
The On/Off status of the internal effects will be retained, even
when you turn off the power.
u SIG indicator
Lights when an effect signal is input into the channel.
NOTE
You can also select the desired effect by turning the knob while
holding it down.
e PARAMETER control
Adjusts the parameter (depth, speed, etc.) for the selected
effect. The last value used with each effect type is saved.
NOTE
When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly
selected effect (regardless of the current position of the
PARAMETER Control knob).
r AUX PRE controls (1, 2)
Each knob adjusts the level of the effect-processed sound sent
to the corresponding AUX1 and AUX2 buses.
t TAP button and indicator
This feature lets you set the delay time (tempo) for FX2 by
tapping on the button. The feature only works when the effect
type for FX2 is set to , DELAY or . SINGLE DELAY.
To set the tempo, tap on the button at the appropriate interval.
The average interval (BPM) at which you tap the button will
be calculated, and that value will be set for the tempo. Continue tapping as necessary until you get the timing right.
The average interval will be set (the average of a, b, and c)
a
First tap
b
Second tap
c
Third tap
Fourth tap
The TAP indicator flashes in sync with the tempo when the
, DELAY or . SINGLE DELAY is selected.
NOTE
• The tempo is not set when the average interval at which you
tap the button is out of the range of 80 – 300BPM.
• For more information on the tempo range, see page 28.
• The mixer retains the last tempo setting made, even after the
power is turned off.
22
MGP16X/MGP12X
Owner’s Manual
i Bus assign switches
These switches determine the bus(es) to which the signal of
the internal digital effects is sent. Press the switch in (
) to
output the signal to the corresponding buses.
• 1-2, 3-4 switches: Assign to the GROUP 1-2, 3-4
buses.
• ST switch: Assigns to the STEREO L/R bus.
o PFL switch and indicator
When the PFL (Pre-Fader Listen) switch is on (
), the
indicator will light and the pre-FX (1, 2) RTN-fader signal is
output to the MONITOR OUT and PHONES jacks for monitoring.
NOTE
If both PFL and AFL switches are turned on, only the PFL
switch is enabled. To monitor the post-fader signal, make sure
to turn off all PFL switches.
!0 FX RTN faders (FX1, FX2)
These adjust the level of the effect sent from the internal
effect to the GROUP 1-2, 3-4 and STEREO L/R buses.
To restore the initial factory settings for the internal effects, turn
on the power while holding the TAP button (t) and the ON
button (y).
Controls and Connectors
Meter/PHONES section
RETURN/2TR IN section
q
q
w
w
e
q RETURN
r
q PHONES jack
Connect a pair of headphones to this TRS phone jack. The
PHONES jack outputs the same signal as the MONITOR
OUT jacks.
w POWER indicator
This indicator lights up when the mixer’s power is ON.
e Level meter
This LED meter displays the level of the signal output from
the STEREO OUT jack, or the signal selected by the 2TR IN
switch and PFL/AFL switch.
The “0” segment corresponds to the nominal output level.
The PEAK segment lights when output reaches the clipping
level.
• AUX1, AUX2 controls: Adjust 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.
w 2TR IN
• 2TR IN switch: If this switch is set to TO MONITOR
(
), the signals input via the 2TR IN jacks or
the iPod/iPhone 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 buses.
• 2TR IN control: Adjusts the level of the signal sent
from the 2TR IN jacks or the iPod/iPhone to the
STEREO L/R buses.
NOTE
The PFL signal has display priority when an input channel’s
PFL switch is on (
).
r MONITOR/PHONES control
Controls the level of the signal output to the PHONES jack
and the MONITOR OUT jacks.
MGP16X/MGP12X
Owner’s Manual
23
Controls and Connectors
SEND MASTER section
GROUP/STEREO section
t
w
q
e
q SEND MASTER controls (AUX1, AUX2, FX1,
FX2)
These adjust the signal level sent to the AUX, AUX2, FX1
and FX2 SEND jacks.
r
q
y
w
NOTE
These SEND MASTER controls do not affect the level of the
signal sent from the internal digital effect to the FX1 and FX2
buses.
w AFL switch and indicator
When the AFL (After-Fader Listen) switch is on, the indicator lights and the signal after the AUX1 and AUX2 controls
(q) adjustment is output to the MONITOR OUT and
PHONES jacks for monitoring.
NOTE
• The PFL signal has priority when both the PFL switch and
AFL switch are on. To monitor the post-fader signal, make
sure to turn off all PFL switches.
• If the PFL (preferred) is enabled, the AFL indicator does not
light, even if the AFL switch is pressed.
q GROUP 1-2 fader
Adjusts the signal level to the GROUP OUT 1 and GROUP
OUT 2 jacks.
w GROUP 3-4 fader
Adjusts the signal level to the GROUP OUT 3 and GROUP
OUT 4 jacks.
e ST switch
If this switch is on, the signals are sent to the STEREO L/R
bus via the GROUP1-2 or 3-4 fader. The Group 1 and 3 signal
goes to Stereo L and the Group 2 and 4 signal goes to Stereo
R.
r AFL switch and indicator
When the AFL (After-Fader Listen) switch is on, the indicator lights and the signal after GROUP 1-2 (q) or 3-4 (w)
faders adjustment is output to the MONITOR OUT and
PHONES jacks for monitoring.
NOTE
• The PFL switch has priority when both the PFL switch and
AFL switch are on. To monitor the post-fader signal, make
sure to turn off all PFL switches.
• If the PFL is enabled (preferred), the AFL indicator does not
light, even if the AFL switch is pressed.
t ON switch
Turn this switch on to enable the STEREO master fader. The
switch lights when on.
y STEREO master fader
Adjusts the signal level sent to the STEREO OUT jacks.
24
MGP16X/MGP12X
Owner’s Manual
Controls and Connectors
Rear Input/Output Block
!1
y
t
r
e (MGP12X:
w (MGP12X: CHs 5/6, 7/8)
q (MGP12X: CHs 1 to 4)
CHs 9/10, 11/12)
!0
!2
o
i
Channel I/O connectors section
• MIC/LINE: These are combo jacks that support both
XLR-type and TRS phone-type plugs, and are for
connection of both microphones and/or instruments.
q Mono inputs
• INSERT: These jacks are located between the compressor and equalizer of the corresponding input
channel. The INSERT jacks are ideal for connecting devices such as graphic equalizers 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).
NOTE
Connection to an INSERT I/O jack requires a special insertion
cable as illustrated below. Use a separately-sold Yamaha insertion cable (YIC025/050/070).
To the input jack
of the external
processor
To the INSERT
I/O jack
Sleeve (ground)
u
w Mono/Stereo inputs
• LINE: These are unbalanced phone-jack stereo line
inputs.
• MIC: These are balanced XLR-type microphone input
jacks. (1: Ground; 2: Hot; 3: Cold)
NOTE
On any given channel, you may use either an XLR or phone
jack, but not both.
e Stereo input
• LINE: These are stereo input jacks that connect linelevel instruments, such as a synthesizer. These
are unbalanced input jacks. Two jack types are
provided: phone type and RCA pin type.
Tip: OUT
NOTE
Tip: IN
On any given channel, you may use either a phone or RCA
jack, but not both.
Ring: IN
Tip: OUT
To the output jack
of the external
processor
CAUTION
The signal output from the INSERT jacks is reversephased. 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 reversed-phased signal may result in degraded sound
quality or even complete sound cancellation.
MGP16X/MGP12X
Owner’s Manual
25
Controls and Connectors
Master I/O connectors section
r 2TR IN
These RCA pin jacks can be used to input a stereo sound
source. Use these jacks when you want to connect a CD
player, and output the signal to the monitor or the STEREO
L/R bus.
NOTE
You can adjust the signal level using the 2TR IN control in the
Master Control block.
t REC OUT
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.
i GROUP OUT
These impedance-balanced* TRS phone jacks output the
GROUP 1-2, 3-4 signals. Use these jacks to connect to the
inputs of a multi-track recorder, external mixer, or another
similar device.
o SEND
You use these jacks, for example, to connect to an effect
device or monitor system.
• AUX1, AUX2: These are balanced XLR-3-32 type output jacks (1: Ground; 2: Hot; 3: Cold).
• FX1, FX2: These are impedance balanced* phonejack type output jacks. These jacks output the
signals from the FX1 and FX2 buses, respectively.
!0 STEREO OUT
NOTE
The mixer’s STEREO master fader has no affect on the signal
output via these jacks. Be sure to make appropriate level
adjustments at the recording device.
y MONITOR OUT
Connect these impedance-balanced* TRS phone jacks to
your monitor system. These jacks output the signal before or
after the faders for the various buses. The PFL and AFL indicators in each section indicate which signal is being output.
* 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.
These are XLR type and TRS phone type balanced output
jacks that output the mixed stereo signal. The signal level is
adjusted by the STEREO master fader before it is output. You
can use these jacks, for example, to connect to the power
amplifier driving your main speakers.
Power section
!1 POWER switch
Turns power to the unit ON or OFF. Press the switch to the
“
” position to turn on the power. Press the switch to the
“
” position to turn off the power.
CAUTION
NOTE
The PFL switch has priority when both the PFL switch and AFL
switch are on. To monitor the post-fader signal, make sure to
turn off all PFL switches.
Rapidly turning the unit ON and OFF in succession can
cause it to malfunction. After turning the unit OFF, wait for
about 6 seconds before turning it ON again.
!2 AC IN connector
u RETURN
These are unbalanced phone-jack type line input jacks. The
signal received by these jacks is sent to the STEREO L/R
buses and the AUX1 and AUX2 buses. The mixed signal of L
(MONO) and R 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.
26
MGP16X/MGP12X
Owner’s Manual
Connect the included power cord here. First, connect the
power cord to the MGP, and then plug it into an AC outlet.
Troubleshooting
 Power doesn’t come on.
 Is an independent power-supply unit such as a power generator, or a power strip with switch
plugged into the mixer?
Make sure that the power is turned on.
 No sound.










 Sound is faint, distorted, or
noisy.
Are microphones, external devices, and speakers connected correctly?
Is a Y-shaped cable used to connect the INSERT connector or an external device?
Are your cables connected properly, or are they shorted or faulty?
Are the channel GAIN controls, channel faders, STEREO master fader and GROUP 1-2/3-4 faders
set to appropriate levels?
Are the bus assign switch and 2TR IN switch set properly?
(When using STEREO OUT jacks) Are the ON switch and ST switch of the channels you are using
turned ON?
(When using STEREO OUT jacks) Is the ON switch of the STEREO master turned on?
(When using AUX 1/2 and FX 1/2 jacks) Are the respective SEND MASTER control, AUX 1/2 and
FX 1/2 controls of each channel set to appropriate levels?
(When using MONITOR OUT jacks ) Are the PFL switches for the channels that you are not using
turned on? Make sure to turn off the PFL switch.
[For signals that are input to the 2TR IN and CH15/16 (CH11/12) jacks] Is the routing assign switch
set to USB (
)? Make sure to set the switch to ANALOG (
).
 Are the channel GAIN controls, channel faders, STEREO master fader and GROUP 1-2/3-4 faders
set to appropriate levels?
 Is the 26dB switch turned on?
Make sure to turn off the switch when a low-level source, such as a microphone, is input.
 Is the output signal from the connected device set to an appropriate level?
 Are you applying the effects and compressor at appropriate levels?
You may have to lower the FX (1, 2) control, FX RTN fader, and COMP control levels.
 Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA
pin jacks on one channel?
Make sure to connect to only one of these jacks on each channel.
 Are microphones connected to the MIC input jacks or MIC/LINE input jacks ?
 If you are using condenser microphones, is the +48V switch turned ON?
 If you are connecting a device which has a specified output level of +4dBu, turn on the 26dB (PAD)
switch of the mono channels or use stereo channels.
 (Stereo channel) Is the DUCKER switch turned on?
When a signal is constantly input to CH4 (MGP12X)/CH8 (MGP16X), the sound becomes faint.
 No effect is applied.





 The FX1/FX2 ON buttons are
 The FX1/FX2 ON buttons are of a type that do not lock.
Check that the EFFECT knob on each channel is correctly adjusted.
Check whether the ON button of FX1/FX2 is turned on or off.
Be sure that the PARAMETER control and FX RTN fader are correctly adjusted.
Check that the switch for the desired bus in the FX1/FX2 RTN bus assign switches is turned on.
When an effect device is connected to the FX1 or FX2 jack, is the FX1 or FX2 control on the SEND
MASTER set to appropriate levels?
not locked.
 I want spoken words to be
heard more clearly.
 I want to output a monitor
signal for the mixer through
speakers.
 The level meter doesn’t
show the output signal level.
 iPod/iPhone signal is not
output.
 The supported iPod/iPhone
is not recognized.
 When a stereo signal is
input, the left and right volume is different.
 The sound level is inconsistent, or there is an unnatural
“pumping” in the sound.
 The Leveler is not enabled.
 Make sure that the
switch is turned ON.
 Are the equalizers (HIGH, MID, and LOW knobs) on each channel adjusted appropriately?
 Connect a powered speaker to the MONITOR OUT jack.
Make sure to adjust the level of output signal from the MONITOR OUT jack with the MONITOR/
PHONES control.
 Are the PFL switches for the channels you are not using turned on?
Make sure to turn off the PFL switch.
 Is the USB cable that came with Pod/iPhone properly connected to the mixer?
 Is the routing assign switch set to USB (
)?
 Is the LED indicator turned off?
The mixer has not recognized your iPod/iPhone. Check which iPod/iPhone models are supported.
 If your iPod/iPhone has not been charged, it may take some time to be recognized by the mixer.
Please wait.
 Is the pan control set to the center position?
If it is located in the center, try swapping the connections. If the lesser/greater volume signals are
also switched, check the connected device(s).
 Is the same type of cable used for the right and left signals?
A cable with resistance lowers the volume.
 Are you applying the compressor at an appropriate level?
You might have to lower the COMP control levels.
 Is the GAIN control on the stereo channels adjusted appropriately?
The Leveler may not be enabled if you increase the gain too much.
* If any specific problem should persist, please contact your Yamaha dealer.
MGP16X/MGP12X
Owner’s Manual
27
Appendix
Digital Effect Program List
FX1 REV-X (REV-X algorithm)
No.
Parameter
Variable range
1
HALL
Program
Reverb Time
0.3 s – 10.0 s
Reverb simulating a large space such as a hall.
Description
2
WARM HALL
Reverb Time
0.3 s – 10.0 s
Warm reverb simulating a hall.
3
BRIGHT HALL
Reverb Time
0.3 s – 10.0 s
Bright reverb simulating a hall.
4
PLATE 1
Reverb Time
0.3 s – 10.0 s
Reverb simulating a metal-plate. Suitable for vocals.
5
PLATE 2
Reverb Time
0.3 s – 10.0 s
Reverb simulating a metal-plate. Suitable for snare drum sound.
6
ROOM
Reverb Time
0.3 s – 3.2 s
Reverb simulating the acoustics of a small space (room).
7
WARM ROOM
Reverb Time
0.3 s – 3.2 s
Warm reverb simulating the acoustics of a small space (room).
8
SLAP ROOM
Reverb Time
0.3 s – 3.2 s
Reverb simulating a slap echo of a small space (room).
FX2 SPX (SPX algorithm)
No.
Program
Parameter
Variable range
Description
1
HALL
Reverb Time
0.3 s – 10.0 s
Reverb simulating a large space such as a hall.
2
ROOM
Reverb Time
0.3 s – 3.2 s
Reverb simulating the acoustics of a small space (room).
3
PLATE
Reverb Time
0.3 s – 10.0 s
Reverb simulating a metal-plate, producing a more hard-edged sound.
4
LARGE STAGE
Reverb Time
0.3 s – 10.0 s
Reverb simulating a large stage.
5
SMALL STAGE
Reverb Time
0.3 s – 10.0 s
Reverb simulating a small stage.
6
VOCAL ECHO
Delay Time
30.0 ms – 743.0 ms
Echo suitable for vocals.
7
KARAOKE ECHO
Delay Time
40.0 ms – 265.0 ms
Echo suitable for karaoke.
Delay Time
20.0 ms – 743.0 ms
Delay Time
(when inputting Tap)
200 ms – 743.0 ms
80 BPM – 300 BPM
Delay Time
0 ms – 743.0 ms
Delay Time
(when inputting Tap)
200 ms – 743.0 ms
80 BPM – 300 BPM
Room Size
0.1 – 10.0
8
DELAY
9
SINGLE DELAY
10
EARLY REF.
Feedback delay adding multiple delayed signals.
Mono delay adding a delayed signal.
Early reflections without the subsequent reverb.
Applies a more elaborate effect than conventional reverb.
11
CHORUS
LFO Freq
0 Hz – 39.7 Hz
Creates a thick sound by modulating the delay time.
12
PHASER
LFO Freq
0 Hz – 8.08 Hz
Phase modulation produces a cyclical phasing effect.
13
FLANGER
Creates a tone with pitched effect.
14
SYMPHONIC
15
16
LFO Freq
0 Hz – 8.08 Hz
LFO Depth
0 – 127
DOUBLER
Pitch Change
-63 – +63
RADIO VOICE
Cutoff Offset
0 – 127
Creates a thick sound by multiplexing the sound.
Creates an illusion of two people singing the same phrase.
Reproduces a lo-fi feel in the style of the AM radio. Adjust the parameter to change the frequency range to be emphasized.
* “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and
waveform shape.
28
MGP16X/MGP12X
Owner’s Manual
Appendix
Jack List
Input and Output Jacks
Polarities
Configurations
INPUT
MIC/LINE, MIC, AUX SEND,
STEREO OUT
OUTPUT
Pin 1: Ground
Pin 2: Hot (+)
Pin 3: Cold (–)
XLR Jack
* LINE (mono channels)
GROUP OUT, STEREO OUT,
MONITOR OUT, FX SEND
Tip: Hot (+)
Ring: Cold (–)
Sleeve: Ground
INSERT
Tip: Output
Ring: Input
Sleeve: Ground
PHONES
Tip: L
Ring: R
Sleeve: Ground
RETURN
LINE (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.
MGP16X/MGP12X
Owner’s Manual
29
Appendix
Specifications
Electrical Characteristics
0 dBu=0.775 Vrms, 0 dBV=1 Vrms
All faders are set to nominal position if not specified. (Nominal position is adjusted to a position that is 10 dB lower than the maximum position)
Output impedance of signal generator(Rs)=150 ohms, Output load impedance=10k ohms (TRS phone output), 600 ohms (XLR output)
UNIT
Frequency Response
Total Harmonic Distortion
Noise*1
Crosstalk at 1 kHz*2
CH INPUT
STEREO OUT
GROUP OUT
AUX SEND
FX SEND
STEREO OUT
Adjacent Input
Input to Output
CH INPUT MIC to
Maximum Voltage Gain
(1 kHz)*3
RETURN to
2TR IN to
20 Hz–20 kHz, refer to the nominal output level @1 kHz
GAIN: min (MONO CH, STEREO CH)
STEREO OUT +14 dBu@20 Hz–20 kHz, GAIN: min
EIN (Equivalent Input Noise): Rs=150 ohms, GAIN: max
STEREO and GROUP master faders are at nominal position and all of
bus assign switches are off.
AUX and FX master controls are at nominal position, and all of CH mix
controls are at minimum position.
Residual Output Noise
Between input channels
STEREO OUT L/R, PAN: panned hard left or right
CH INSERT OUT
STEREO OUT
GROUP OUT
REC OUT
MONITOR OUT
PHONES OUT
AUX SEND (AUX2: PRE)
AUX SEND (AUX2: POST)
FX SEND
STEREO OUT
AUX SEND
STEREO OUT
MONITOR OUT
+0.5/-1.0
dB
0.02
-128
%
dBu
-92
dBu
-83
dBu
-102
-74
-74
60
84
84
62
80
69
76
86
86
16
12
28
34
dBu
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
*1 Noise is measured with an A-Weighting filter.
*2 Crosstalk is measured with a 1 kHz band pass filter.
*3 Maximum voltage gain is measured under the condition that all faders and GAIN controls are at maximum. PAN/BAL controls are panned
hard left or right.
General Specifications
*iPod classic, iPod touch (1st – 4th generation), iPod nano (2nd – 6th generation), iPhone 4S,
iPhone 4, iPhone 3GS, iPhone 3G, iPhone
100 Hz, 12 dB/oct
8 kHz, shelving
MGP16X CHs 1–8, 13–16: 250 Hz to 5 kHz, peaking MGP16X CHs 9–12: 2.5 kHz, peaking
Input Channel EQ
MID
MGP12X CHs 1–4, 9–12: 250 Hz to 5 kHz, peaking MGP12X CHs 5–8: 2.5 kHz, peaking
LOW
125 Hz, shelving
Input Channel Compressor
Parameters (ratio, threshold, output gain) are controlled by one knob.
PEAK indicator (red)
Signal Indicator
CH INPUT
SIG indicator (green)
PEAK lights if the signal comes within 3 dB of the clipping level.
2 x 12 segments LED meter
LED Level Meter
(PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB)
Metering point: post stereo master fader or pre monitor level
Phantom Power
+48V
Requirements
100–240 V 50/60 Hz, auto sensing, IEC input
Power Supply
MGP16X: 55 watts max
Power Consumption
MGP12X: 45 watts max
MGP16X: 447 mm x 143 mm x 495 mm (17.6" x 5.6" x 19.5")
Dimensions (W x H x D)
MGP12X: 348 mm x 143 mm x 495 mm (13.7" x 5.6" x 19.5")
MGP16X: 9.0 kg (19.8 lb)
Weight
MGP12X: 7.5 kg (16.5 lb)
Supported iPod/iPhone models (as of
Dec. 2011)
Input Channel HPF
HIGH
* The device may not function depending on your iPod/iOS software version. For updated information about supported software versions,
check the Yamaha Pro Audio website (http://www.yamahaproaudio.com/).
30
MGP16X/MGP12X
Owner’s Manual
Appendix
Analog Input Specifications
Input Connectors
PAD
Gain
Input
Impedance
Sensitivity*1
-80 dBu (0.078 mV)
50–600
ohms Mics -36 dBu (12.3 mV)
3k ohms
-54 dBu (1.55 mV)
600 ohms
Lines
-10 dBu (245 mV)
-80
dBu (0.078 mV)
50–600
3k ohms
ohms Mics -36 dBu (12.3 mV)
-54 dBu (1.55 mV)
600 ohms
10k ohms
Lines
-10 dBu (245 mV)
-60 dB
-16 dB
-34 dB
26 dB
+10 dB
-60 dB
STEREO CH INPUT —
-16 dB
MGP16X: 9–12
-34 dB
MGP12X: 5–8
—
+10 dB
STEREO CH INPUT — -34 dB
MGP16X: 13–16
10k ohms
— +10 dB
MGP12X: 9–12
MONO CH INPUT
MGP16X: 1–8
MGP12X: 1–4
0
Appropriate
Impedance
MONO CH
INSERT IN
MGP16X: 1–8
MGP12X: 1–4
—
—
10k ohms
RETURN (L, R)
—
—
10k ohms
2TR IN (L, R)
—
—
10k ohms
600 ohms
Lines
600 ohms
Lines
600 ohms
Lines
600 ohms
Lines
Input level
Nominal
-60 dBu (0.775 mV)
-16 dBu (123 mV)
-34 dBu (15.5 mV)
+10 dBu (2.45 V)
-60 dBu (0.775 mV)
-16 dBu (123 mV)
-34 dBu (15.5 mV)
+10 dBu (2.45 V)
Max. before Clipping
-40 dBu (7.75 mV)
+4 dBu (1.23 V)
-14 dBu (155 mV)
+30 dBu (24.5 V)
-40 dBu (7.75 mV)
-6 dBu (389 mV)
-14 dBu (155 mV)
+30 dBu (24.5 V)
Connector
Specifications
Combo jack*2
XLR-3-31 type*3
Phone jack*4
-54 dBu (1.55 mV)
-34 dBu (15.5 mV)
-10 dBu (245 mV)
+10 dBu (2.45 V)
-14 dBu (155 mV) Phone jack*4
+30 dBu (24.5 V) RCA pin jack
-20 dBu (77.5 mV)
0 dBu (0.775 V)
+20 dBu (7.75 V)
-12 dBu (195 mV)
+4 dBu (1.23 V)
+24 dBu (12.3 V) Phone jack*4
-26 dBV (50.1 mV)
-10 dBV (0.316 V)
+10 dBV (3.16 V) RCA pin jack
Phone jack
(TRS)*5
0 dBu=0.775 Vrms, 0 dBV=1 Vrms
*1 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 maximum
level. (All faders and level controls are at their maximum position.)
*2 Combo jacks are balanced (1&Sleeve=GND, 2&Tip=HOT, 3&Ring=COLD)
*3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*4 Phone jacks are unbalanced.
*5 Phone jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND)
Analog Output Specifications
Output Level
Max. before Clipping
Output
Impedance
Appropriate
Impedance
Nominal
STEREO OUT (L, R)
75 ohms
600 ohms Lines
+4 dBu (1.23 V)
+24 dBu (12.3 V)
GROUP OUT (1–4)
AUX SEND (1, 2)
FX SEND (1, 2)
MONO CH INSERT OUT
MGP16X: 1–8
MGP12X: 1–4
REC OUT (L, R)
MONITOR OUT (L, R)
PHONES
150 ohms
75 ohms
150 ohms
10k ohms Lines
600 ohms Lines
10k ohms Lines
+4 dBu (1.23 V)
+4 dBu (1.23 V)
+4 dBu (1.23 V)
+20 dBu (7.75 V)
+24 dBu (12.3 V)
+20 dBu (7.75 V)
XLR-3-32 type*1
Phone jack*4
Phone jack*2
XLR-3-32 type*1
Phone jack*2
150 ohms
10k ohms Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
Phone jack*3
600 ohms
150 ohms
100 ohms
10k ohms Lines
10k ohms Lines
40 ohms Phones
-10 dBV (0.316 V)
+4 dBu (1.23 V)
3 mW
+10 dBV (3.16 V)
+20 dBu (7.75 V)
75 mW
RCA pin jack
Phone jack*2
Stereo phone jack
Output Connectors
Connector
Specifications
0 dBu=0.775 Vrms, 0 dBV=1 Vrms
*1
*2
*3
*4
XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
Phone jacks are impedance balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
Phone jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND)
Phone jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
Digital Input Specifications
Connector
Format
Connector Specification
USB IN
iPod, iPhone exclusive
USB A type
MGP16X/MGP12X
Owner’s Manual
31
Appendix
Dimensions
MGP16X
478
447 (444 excluding screw heads)
495
146
143
MGP12X
478
348 (345 excluding screw heads)
495
146
143
Unit: mm
* Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corporation reserves the
right to modify products or specifications at any time without prior notice. Since specifications, equipment, and options may not
be the same in every locale, please check with your Yamaha dealer.
32
MGP16X/MGP12X
Owner’s Manual
L
R
R
L
[-10dBV]
2TR IN
[+4dBu]
RETURN
L
R
R
POWER
R
L
R
L/MONO
LINE
[-34dBu~+10dBu]
L
<CH11/12:MGP12X>
<CH15/16:MGP16X>
ST CH INPUT
LINE
[-34dBu~+10dBu]
<CH9/10:MGP12X>
<CH13/14:MGP16X>
ST CH INPUT
R
LINE
[-34dBu~+10dBu]
L/MONO
<CH5/6,7/8:MGP12X>
<CH9/10,11/12:MGP16X>
MIC
[-60dBu~-16dBu]
ST CH INPUT
<CH4:MGP12X>
<CH8:MGP16X>
SOURCE
CH INPUT
INSERT
[0dBu]
MIC/LINE
[-60dBu~-16dBu]
[-34dBu~+10dBu]
[0dBu]
MGP16X/MGP12X
MONO CH (PAD OFF)
Gain:Max [-60dBu]
MONO CH (PAD ON)
Gain:Max [-34dBu]
FX2 ON
TAP
PARAMETER
PROGRAM 1~16
MONO CH (PAD ON)
Gain:Min [+10dBu]
FX 2
(SPX)
FX1 FX2
GR
GR
RE
ON
ON
SIG
ST CH LINE
Gain:Min [+10dBu]
ST CH MIC
Gain:Max [-60dBu]
ST CH LINE
Gain:Max [-34dBu]
ST CH MIC
Gain:Min [-16dBu]
[0dBu]
PRE
[0dBu]
PFL
ST
PAN
[0dBu]
[0dBu]
[0dBu]
Clip Level
FX2L-OUT
FX2R-OUT
FX1R-OUT
BA
[0dBu]
CH Fader
ST CH Fader
[Nominal:-10dB]
[-14dBu]
[-14dBu]
PFL
YE
AUX2
AUX1
2TR IN [-10dBV]
BA
BA
3-4
PFL
FX2 [-14dBu]
FX1 [-14dBu]
AUX2 [-14dBu]
AUX1 [-14dBu]
3-4 [0dBu]
1-2 [0dBu]
ST
[0dBu]
FX2 [-6dBu]
FX1 [-6dBu]
AUX2 [-6dBu]
AUX1 [-6dBu]
ST CH AUX, FX
[Nominal:-6dB]
3-4
[0dBu]
1-2
[0dBu]
ST
[0dBu]
RETURN
2TR IN
[Nominal:-6dB]
TO STEREO/TO MONITOR
[Same as CH5/6, 7/8:MGP12X]
[Same as CH9/10,11/12:MGP16X]
YE
YE
CH AUX, FX
[Nominal:-6dB]
[Same as FX1]
[-14dBu]
[-14dBu]
[-10dBu]
FX1 RTN
PRE
BAL
[-6dBu]
RETURN [+4dBu]
Clip Level
GR
2TR IN
AUX2
AUX1
STEREO
SIG
BA
PAN/BAL
[Same as CH1-3 : MGP12X]
[Same as CH1-7 : MGP16X]
(ST CH Fader)
[-10dBu]
Clip Level
YE
FX1L-OUT
DUCKER
DETECT
YE
YE
PEAK
SIG
DSP
BA
BA
1-2
ON
[-10dBu]
(CH Fader)
SIG
PEAK
[0dBu]
PEAK
INV
INV
STEREO IMAGE
INSERT I/O [0dBu]
Clip Level
YE
YE
YE
USB-L-OUT
FX1 ON
[0dBu]
RE
GR
RE
[0dBu]
[Same as CH9/10 : MGP12X]
[Same as CH13/14 : MGP16X]
USB-R-OUT
PROGRAM 1~8
MONO CH (PAD OFF)
Gain:Min [-16dBu]
-60dBu
3-Stage EQ
DSP
3-Stage EQ
[Same as CH1-3 : MGP12X]
[Same as CH1-7 : MGP16X]
COMP(TH)
COMP
3-Stage EQ
100
DUCKER LEVELER
YE
YE
FX 1
PARAMETER
(REV-X)
(7 Seg)
-20dBu
-30dBu
-40dBu
-50dBu
100
[0dBu]
TO 2TR IN
INV
INV
0dBu
-10dBu
+10dBu
+30dBu
+20dBu
WH
GR
USB for iPod
INV
INV
INV
HA
[0dBu]
GAIN
HA
HPF
[-34dBu~+10dBu]
HPF
MAIN & MONO4
TO CH11/12:MGP12X
[0dBu] TO CH15/16:MGP16X
HA
HA
HA
GAIN
HA
+48V
[0dBu]
HA
HA
INV
GAIN
GAIN
RE
+48V
26dB
PAD
+48V
LOW
RE
LOW
MID f
+48V
BLEND
STEREO
<CH1-3:MGP12X>
<CH1-7:MGP16X>
MID
MID
HIGH
MONO
HIGH
LOW
MID f
MID
HIGH
FX2-IN
FX1-IN
CH INPUT
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
SUM
SUM
SUM
SUM
INV
INV
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
SUM
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
INV
INV
SUM
SUM
AUX, FX SEND [+4dBu]
Clip Level
[0dBu]
[0dBu]
[0dBu]
[0dBu]
AUX,FX SEND
[Nominal:-6dB]
MAIN
GROUP Fader
[Nominal:-10dB]
YE
[-6dBu]
[-6dBu]
YE
AFL
[-6dBu]
YE
AFL
[-6dBu]
BA
BA
BA
BA
YE
ON
REC OUT [-10dBV]
PHONES [3mW @ 40ohms]
MONITOR OUT [+4dBu]
Clip Level
MONITOR/PHONES
[Nominal:-16dB]
STEREO OUT [+4dBu]
[+4dBu]
[+4dBu]
[0dBu]
[0dBu]
[+4dBu]
[+4dBu]
[+4dBu]
[+4dBu]
[0dBu]
[0dBu]
Clip Level
STEREO Fader
[Nominal:-10dB]
GROUP OUT [+4dBu]
Clip Level
FX2
FX1
AUX2
AUX1
ST
ST
BA
BA
BA
BA
BA
BA
YE
AFL
AFL
GROUP 3-4
GROUP 1-2
[-10dBu]
STEREO
[-10dBu]
-30dBu
-20dBu
-10dBu
0dBu
+10dBu
+30dBu
+20dBu
SUM
SUM
DR
[+4dBu]
[+4dBu]
R
2/4
INV
[-16dBu]
L
MONITOR/ 1/3
PHONES
INV
DR
(LED METER)
[+4dBu]
[+4dBu]
R
L
GROUP OUT
[+4dBu]
REC OUT
[-10dBV]
FX2 SEND
[+4dBu]
FX1 SEND
[+4dBu]
AUX2 SEND
[+4dBu]
AUX1 SEND
[+4dBu]
4
3
2
1
R
L
MONITOR OUT
[+4dBu]
PHONES
[3mW 40ohms]
STEREO OUT
[+4dBu]
R
L
Appendix
Block Diagram and Level Diagram
Owner’s Manual
33
AFL L
AFL R
AFL CTRL
PFL L
PFL R
PFL CTRL
FX 1
FX 2
AUX 1
AUX 2
GROUP 1
GROUP 2
GROUP 3
GROUP 4
STEREO L
STEREO R
34
MGP16X/MGP12X
Owner’s Manual
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 regulations
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 products distributed by YAMAHA CORPORATION OF AMERICA.
This device complies with Part 15 of the FCC Rules. Operation
is subject to the following two conditions:
(1) this device may not cause harmful interference, and (2) this
device must accept any interference received, including interference that may cause undesired operation.
CANADA
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB003 du Canada.
• This applies only to products distributed by Yamaha Canada Music Ltd. (class B)
• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.
(class B)
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance
with the following code:
GREEN-AND-YELLOW : EARTH
BLUE
: NEUTRAL
BROWN
: LIVE
As the colours of the wires in the mains lead of this apparatus
may not correspond with the coloured markings identifying the
terminals in your plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be
connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol
or colored GREEN or
GREEN-and-YELLOW.
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.
(3 wires)
Information for Users on Collection and Disposal of Old Equipment
This symbol on the products, packaging, and/or accompanying documents means that used electrical and electronic
products should not be mixed with general household waste.
For proper treatment, recovery and recycling of old products, please take them to applicable collection points, in accordance with your national legislation and the Directives 2002/96/EC.
By disposing of these products correctly, you will help to save valuable resources and prevent any potential negative
effects on human health and the environment which could otherwise arise from inappropriate waste handling.
For more information about collection and recycling of old products, please contact your local municipality, your waste
disposal service or the point of sale where you purchased the items.
[For business users in the European Union]
If you wish to discard electrical and electronic equipment, please contact your dealer or supplier for further information.
[Information on Disposal in other Countries outside the European Union]
This symbol is only valid in the European Union. If you wish to discard these items, please contact your local authorities
or dealer and ask for the correct method of disposal.
(weee_eu)
MGP16X/MGP12X
Owner’s Manual
35
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, Toronto, Ontario,
M1S 3R1, Canada Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Avenue, Buena Park, CA 90620,
U.S.A. Tel: 714-522-9011
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de México, S.A. de C.V.
Av. Insurgentes Sur 1647 Piso 9, Col. San José
Insurgentes, Delegación Benito Juárez, México,
D.F., C.P. 03900 Tel: 55-5804-0600
BRAZIL
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4º andar, Itaim Bibi,
CEP 04534-013 São Paulo, SP. BRAZIL
Tel: 011-3704-1377
ARGENTINA
Yamaha Music Latin America, S.A.,
Sucursal Argentina
Olga Cossettini 1553, Piso 4 Norte,
Madero Este-C1107CEK
Buenos Aires, Argentina
Tel: 011-4119-7000
VENEZUELA
Yamaha Music Latin America, S.A.,
Sucursal Venezuela
C.C. Manzanares Plaza P4
Ofic. 0401- Manzanares-Baruta
Caracas Venezuela
Tel: 58-212-943-1877
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso No.7, Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, República de Panamá
Tel: +507-269-5311
EUROPE
THE UNITED KINGDOM/IRELAND
Yamaha Music Europe GmbH (UK)
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, U.K. Tel: 01908-366700
GERMANY
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
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.
POLAND/LITHUANIA/LATVIA/ESTONIA
Yamaha Music Europe GmbH
Branch Poland Office
ul. Wrotkowa 14 02-553 Warsaw, Poland
Tel: 022-500-2925
MALTA
Olimpus Music Ltd.
The Emporium, Level 3, St. Louis Street Msida
MSD06 Tel: 02133-2144
NETHERLANDS/BELGIUM/
LUXEMBOURG
Yamaha Music Europe Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen, Netherlands
Tel: 0347-358 040
FRANCE
Yamaha Music Europe
7 rue Ambroise Croizat, Zone d'activites Pariest,
77183 Croissy-Beaubourg, France
Tel: 01-64-61-4000
ITALY
Yamaha Music Europe GmbH, Branch Italy
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha Music Europe GmbH Ibérica, Sucursal
en España
Ctra. de la Coruna km. 17,200, 28231
Las Rozas (Madrid), Spain Tel: +34-91-639-88-88
GREECE
Philippos Nakas S.A. The Music House
147 Skiathou Street, 112-55 Athens, Greece
Tel: 01-228 2160
SWEDEN/FINLAND/ICELAND
Yamaha Music Europe GmbH Germany filial
Scandinavia
J. A. Wettergrensgata 1, Box 30053
S-400 43 Göteborg, Sweden Tel: +46 31 89 34 00
DENMARK
Yamaha Music Europe GmbH, Tyskland – filial
Denmark
Generatorvej 6A, DK-2730 Herlev, Denmark
Tel: 44 92 49 00
NORWAY
Yamaha Music Europe GmbH Germany Norwegian Branch
Grini Næringspark 1, N-1361 Østerås, Norway
Tel: 67 16 78 00
RUSSIA
Yamaha Music (Russia) LLC.
Room 37, bld. 7, Kievskaya street, Moscow,
121059, Russia Tel: 495 626 5005
OTHER EUROPEAN COUNTRIES
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
AUSTRIA/BULGARIA
Yamaha Music Gulf FZE
Office JAFZA 16-512, P.O.Box 17328,
Jebel Ali - Dubai, UAE Tel: +971-4-881-5868
Yamaha Music Europe GmbH
Branch Switzerland in Zürich
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 044-387-8080
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
CZECH REPUBLIC/HUNGARY/
ROMANIA/SLOVAKIA/SLOVENIA
Yamaha Music Europe GmbH
Branch Austria (Central Eastern Europe Office)
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
PA36
AFRICA
MIDDLE EAST
TURKEY
Yamaha Music Europe GmbH
Merkezi Almanya Türkiye İstanbul Şubesi
Maslak Meydan Sokak No:5 Spring Giz Plaza
Bağımsız Böl. No:3, 34398 Şişli İstanbul
Tel: +90-212-999-8010
CYPRUS
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
Office JAFZA 16-512, P.O.Box 17328,
Jebel Ali - Dubai, U.A.E Tel: +971-4-881-5868
ASIA
THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Music & Electronics (China) Co.,Ltd.
2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,
Shanghai, China Tel: 021-6247-2211
INDIA
Yamaha Music India Pvt. Ltd.
Spazedge building, Ground Floor, Tower A, Sector
47, Gurgaon- Sohna Road, Gurgaon, Haryana, India
Tel: 0124-485-3300
INDONESIA
PT. Yamaha Musik Indonesia (Distributor)
Yamaha Music Center Bldg. Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 021-520-2577
KOREA
Yamaha Music Korea Ltd.
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,
Kangnam-Gu, Seoul, Korea Tel: 02-3467-3300
MALAYSIA
Yamaha Music (Malaysia) Sdn., Bhd.
No.8, Jalan Perbandaran, Kelana Jaya, 47301
Petaling Jaya, Selangor, Malaysia Tel: 03-78030900
SINGAPORE
Yamaha Music (Asia) Private Limited
Block 202 Hougang Street 21, #02-00,
Singapore 530202, Singapore Tel: 65-6747-4374
TAIWAN
Yamaha Music & Electronics Taiwan Co.,Ltd.
3F, No.6, Section 2 Nan-Jing East Road, Taipei,
Taiwan R.O.C. Tel: 02-2511-8688
THAILAND
Siam Music Yamaha Co., Ltd.
3, 4, 15 and 16th floor, Siam Motors Building,
891/1 Rama 1 Road, Wangmai,
Pathumwan, Bangkok 10330, Thailand
Tel: 02-215-2622
VIETNAM
Yamaha Music Vietnam Company Limited
15th Floor, Nam A Bank Tower, 201-203 Cach
Mang Thang Tam St., Ward 4, Dist.3,
Ho Chi Minh City, Vietnam Tel: +84-8-3818-1122
OTHER ASIAN COUNTRIES
Yamaha Corporation
Sales & Marketing Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650 Tel: +81-53-460-2312
OCEANIA
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
Sales & Marketing Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650 Tel: +81-53-460-2312
HEAD OFFICE Yamaha Corporation, Audio Products Sales and Marketing Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Yamaha Pro Audio global web site:
http://www.yamahaproaudio.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
C.S.G., PA Development Division
© 2011-2013 Yamaha Corporation
311POAP*.*-**C0
WY83800