Yamaha MG10 4 Channel
MG Series Specifications
MG10/2
MG8/2FX
MG12/4
MG12/4FX
MG16/4
MG16/6FX
Less than 0.1 % (THD+N) 20 Hz – 20 kHz @ +14 dBu (ST OUT) *3
-3, 0, +1 dB 20 Hz – 20 kHz @ +4 dBu (ST OUT)
-128 dBu Equivalent Input Noise/-100 dBu Residual Output Noise, 20 Hz – 20 kHz, Rs=150 Ω, Input Gain=Maximum, Input sensitivity=-60 dB *3
-70 dB @ 1 kHz
4 (Ch 1 – 2, 3/4, 5/6: XLR)
6 (Ch 1 – 4, 5/6, 7/8: XLR)
10 (Ch 1 – 8, 9/10, 11, 12: XLR)
2 (Ch 1 – 2: TRS:Phone)
4 (Ch 1 – 4: TRS:Phone)
8 (Ch 1 – 8: TRS:Phone)
2 (Ch 3 – 4, 5 – 6: TRS:Phone) * Ch3, 5: L (MONO) 2 (Ch 3 – 4, 5 – 6: TRS:Phone) * Ch3, 5: L (MONO)
2 (Ch 5 – 6, 7 – 8: TRS:Phone) * Ch5, 7: L (MONO)
2 (Ch 9 – 10, 11 – 12: TRS:Phone) * Ch9, 11: L (MONO)
2 (Ch 9 – 10, 11 – 12: TRS:Phone/RCA:Pin)
2 (Ch 9 – 10, 11 – 12: TRS:Phone/RCA:Pin)
2 (Ch 7 – 8, 9 – 10: TRS:Phone/RCA:Pin)
1 (Ch 7 – 8: TRS:Phone/RCA:Pin)
Insert I/O
2 (Ch 1 – 2: TRS:Phone = T: Out, R: In, S: Gnd)
4 (Ch 1 – 4: TRS:Phone = T: Out, R: In, S: Gnd)
8 (Ch 1 – 8: TRS:Phone = T: Out, R: In, S: Gnd)
Send
2 (1/Pre, 2/Post: TRS:Phone)
1 (Effect / AUX)
2 (1/Post-Pre selectable, 2/Post: TRS:Phone)
1 (Post-Pre selectable: TRS:Phone)
2 (1/Post-Pre selectable, 2/Post: TRS:Phone)
2 (1/Pre, 2/Post-Pre selectable: TRS:Phone)
AUX
Return
1 Stereo (L/MONO, R: TRS:Phone)
EFFECT
Send
—
(Same as AUX Send)
—
1 (TRS:Phone)
—
1 (TRS:Phone)
2TR
In
1 Stereo (L, R: RCA:Pin)
REC
Out
1 Stereo (L, R: RCA:Pin)
ST
Out
1 Stereo (L, R: TRS:Phone)
2 Stereo (L, R: 2 TRS:Phone & 2 XLR)
C/R
Out
1 Stereo (L, R: TRS:Phone)
GROUP
Out
—
2 (1, 2: TRS:Phone)
4 (1 – 4: TRS:Phone)
Phones
1 (TRS:Phone Stereo)
Phantom Power
+ 48 V
CH & ST Ch Input Gain Control
44 dB valiable
CH & ST High Pass Filter
80 Hz 12 dB/Octave
High
10
kHz (Shelving)
CH EQ (MONO) *2
Mid
2.5 kHz (Peaking)
0.25 – 5 kHz (Peaking)
±15 dB (Max.)
Low
100 Hz (Shelving)
High
10 kHz (Shelving)
Hi-Mid
—
3 kHz (Peaking)
CH EQ (STEREO) *2
Mid
2.5 kHz (Peaking)
—
±15 dB (Max.)
Low-Mid
—
800 Hz (Peaking)
Low
100 Hz (Shelving)
Graphic Equalizer
—
7-band (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz) ±12 dB (Max.)
Internal Digital Effect
—
16 Programs: Parameter Control
—
16 Programs: Parameter Control
—
16 Programs: Parameter Control
Height
65 mm
108 mm
Dimensions
Depth
290.5 mm
416.6 mm
Width
251 mm
322 mm
423 mm
Weight
1.8 kg
5.0 kg
5.2 kg
5.5 kg
19 W 120 V/60 Hz
20 W 120 V/60 Hz
29 W 120 V/60 Hz
30 W 120 V/60 Hz
36 W 120 V/60 Hz
51 W 120 V/60 Hz
19 W 220 V/50, 60 Hz
20 W 220 V/50, 60 Hz
29 W 220 V/50, 60 Hz
30 W 220 V/50, 60 Hz
36 W 220 V/50, 60 Hz
51 W 220 V/50, 60 Hz
Power Requirements *4
20 W 230 V/50 Hz
29 W 230 V/50 Hz
30 W 230 V/50 Hz
36 W 230 V/50 Hz
51 W 230 V/50 Hz
19 W 230 V/50 Hz
20 W 240 V/50 Hz
29 W 240 V/50 Hz
30 W 240 V/50Hz
36 W 240 V/50 Hz
51 W 240 V/50 Hz
19 W 240 V/50Hz
Total Harmonic Distortion
Frequency Response
Input Hum & Noise *1
Crosstalk
Mic
Line
CH Input
Stereo
Other
Option
*1
*2
*3
*4
Mic Stand Mountable
Foot Switch Jack (ON/OFF)
Mic Stand Mountable
Rack Mountable
Foot Switch Jack (ON/OFF)
Rack Mountable
Rack Mountable
Rack Mountable
Mic Stand Adapter BMS-10A
Mic Stand Adapter BMS-10A
Foot Switch FC5
—
Foot Switch FC5
—
—
Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation.
Turn over /roll-off frequency of shelving : 3 dB below maximum variable level.
(CH,12): MG10/2, (CH1-4): MG12/4, (CH1-8): MG16/4, MG16/6FX.
Power Supply Adaptor PA-10 (MG10/2,MG8/2FX), PA-20 (MG12/4,MG16/4,MG12/4FX), PA-30 (MG16/6FX).
MG24/14FX
MG32/14FX
Total Harmonic Distortion
Less than 0.1 % (THD+N)
20 Hz – 20 kHz @ +14 dBu (ST OUT)
Frequency Response
0 +1, -3 dB
20 Hz – 20 kHz @ +4 dBu (ST OUT)
-128 dBu Equivalent Input Noise/-99 dBu Residual Output Noise
20 Hz – 20 kHz, Rs=150 Ω, Input Gain=Maximum, Input Pad =OFF, Input sensitivity=-60 dB
-70dB @ 1kHz
Mic
16+1 (Input A 1 – 16, Talk Back: XLR)
24+1 (Input A 1 – 24, Talk Back: XLR)
Line
16 (Input B 1 – 16: TRS:Phone)
24 (Input B 1 – 24: TRS:Phone)
CH Input
2 (Ch 17 – 18, 19 – 20:TRS) * Ch17, 19:L (MONO) 2 (Ch 25 – 26, 27 – 28:TRS) * Ch25, 27:L (MONO)
Stereo
2 (Ch 21 – 22, 23 – 24: TRS:Phone/RCA:Pin)
2 (Ch 29 – 30, 31 – 32: TRS:Phone/RCA:Pin)
Insert I/O 16 (Ch 1 – 16: TRS:Phone T: Out, R: In, S: Gnd) 24 (Ch 1 – 24: TRS:Phone T: Out, R: In, S: Gnd)
Send
6 (1 – 2/Post-Pre selectable, 3 – 4/Post-Pre selectable, 5 – 6/Post: TRS:Phone)
AUX
Return
2 Stereo Sub In (L/MONO, R: TRS:Phone)
EFFECT
Send
2 (1, 2: TRS:Phone)
2TR
In
1 Stereo (L, R: RCA:Pin)
STEREO
Insert
1 Stereo (L, R: TRS:Phone)
GROUP
Insert
4 (1 – 4: TRS:Phone)
REC
Out
1 Stereo (L, R: RCA:Pin)
ST
Out
1 Stereo (L, R: XLR)
MONO
Out
1 (XLR)
ST SUB
Out
1 Stereo (L, R: TRS:Phone)
GROUP
Out
4 (1 – 4: TRS:Phone)
Phones
1 (TRS:Phone Stereo)
Phantom Power
+ 48 V
CH & ST Ch Input Gain Control
44 dB valiable
CH & ST High Pass Filter
80 Hz 12 dB/Octave
High
10 kHz (Shelving)
CH EQ (MONO) *2
Mid
0.25-5 kHz (Peaking)
±15 dB (Max.)
Low
100 Hz (Shelving)
High
10 kHz (Shelving)
CH EQ (STEREO) *2 Hi-Mid
3 kHz (Peaking)
±15 dB (Max.)
Low-Mid
800 Hz (Peaking)
Low
100 Hz (Shelving)
MONO Out Low Pass Filter
80 – 120 Hz 12dB/octave
Internal Digital Effect
SPX x 2 (Effect 1: 16 Programs, Effect 2: 16 Programs :Parameter Control)
Height
140 mm
140 mm
Dimensions
Depth
551 mm
551 mm
Width
819 mm
1027 mm
Weight
18.5 kg
22 kg
100 W 120 V/60 Hz
120 W 120 V/60 Hz
Power Requirements
100 W 220 V/50 Hz
120 W 220 V/50 Hz
100 W 230 V/50 Hz
120 W 230 V/50 Hz
Options
MG
Series
MIXING CONSOLE
Input Hum & Noise *1
Crosstalk
NEW
FC-5 Foot Switch
for MG8/2FX, MG12/4FX
BMS10-A
for MG10/2, MG8/2FX
*1 Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz;equivalent to a 20 kHz filter with infinite dB/octave attenuation.
*2 Turn over /roll-off frequency of shelving : 3 dB below maximum variable level.
For details please contact:
www.yamaha-mg.com
www.yamahaproaudio.com
www.global.yamaha.com
www.yamaha.co.jp/product/proaudio/homeenglish/navi/index.htm
ISO9001
JQA-1868
This document is printed on
chlorine-free (ECF) paper with soy ink.
LPA478E Printed in Japan
NEW
Eight Superlative Mixers
– Superior Sound & Control In Any Application
Yamaha is no newcomer to mixing
console design. You’ll find Yamaha
consoles in some of the most respected
live venues and production studios in
the world. In fact, Yamaha has been
innovating, leading, and in many ways
defining the development of modern
mixing consoles for more than 30 years.
NEW
And now we are proud to introduce the
Yamaha MG-series mixing consoles,
featuring eight models ranging in size
from a small 8-channel/2-bus unit right
up to a very flexible 32-channel/14-bus
type with an impressive selection of
built-in effects. No matter what your
application – from production to sound
reinforcement – there’s a Yamaha MG
mixer that will give you everything
need … and more. There have been no
compromises. These mixers are built for
great sound, total control, and superior
reliability. In fact, they undergo the
same rigorous quality and reliability
tests as our world-class PM-series
mixing consoles. But, by taking full
advantage of the latest Yamaha
technology and manufacturing
techniques, we have been able to pack
these superlative mixers with more value
than you’ll find anywhere else. In short,
they offer extraordinary performance
and mixing power at remarkable prices.
If you need a high-performance analog
mixer for music production or sound
reinforcement, the Yamaha MG Series is
the first – and last – place you should
look.
NEW
Application Examples
1. Music Production
The current trend is toward computer-based music production, but you still need a good mixer to combine your sources in order to feed your
computer's audio interface, as well as for monitoring. The mid-size MG mixers — the MG12/4, MG12/4FX, MG16/4, and MG16/6FX are
ideal for this type of application.
Mono sources such as guitar and vocal as
Compressor
well as stereo sources such as
PC Audio Card
or
synthesizers, samples, and rhythm
Audio Interface
MIC
machines can be combined at the
Guitar etc.
console. The four or six group buses can
feed the system’s sound card or audio
interface. The outputs from the
computer are returned to the mixer for
monitoring. The MG16/6FX internal
effects can be a valuable sound-design
tool, while lightening the computer
processing load at the same time. AUX
and effect sends can be used to feed
external processing devices, and the
Macintosh or PC
Synthesizer etc.
insert patch points are ideal for
independent channel processing.
Powered Speakers
PAN
REVERB
CUTOFF
KNOB
CONTROL
FUNCTION
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
MODE
KN 1
KN 3
KN 4
MEQ LOW MEQLOWMID MEQ HI M ID
KN 2
MEQ HIGH
EFFECT BYPASS
INSERTION
MASTER
VOLUME
VOLUME 1
VOLUME 2
VOLUME 3
SYSTEM
ARPEGGIO
VOICE
PERFORM
SLOT 1
MASTER
DRUM KITS
FAVORITES
PATTERN
MIXING
EDIT
JOB
PRE 2
A. PIANO
KEYBOARD
PRE 3
ORGAN
COMMON
SEQUENCER
SONG
INTEGRATED
SAMPLING
A
FILE
SEQ TRANSPORT
DEC/NO
UTILITY
INC/YES
SYN LEAD
1
SONG SCENE
SF1
1
PRE 1
GM
USER
PLG 1
GUITAR /
PLUCKED
BASS
STRINGS
SLOT 2
SLOT 3
PLG 2
PLG 3
BRASS
REED/PIPE
CATEGORY
SEARCH
BANK
ON/OFF
VOLUME 4
LOCATE
SF2
SF3
SF4
B
C
SYN PAD/
CHOIR
SYN COMP
2
3
D
E
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
F
G
H
SE
MUSICAL FX
COMBI
SECTION
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
GROUP
INFORMATION
SF5
2
ELEMENT/ PERF.PART / ZONE
NUMBER
REC
COMPARE
OCTAVE
DOWN
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
STORE
F1
F2
F3
F4
F5
SCENE STORE
SET LOCATE
F6
EXIT
ENTER
9
10
11
EXECUTE
SOLO
UP
2. A Small Sound Reinforcement System
A sound reinforcement system using the MG24/14FX or MG32/14FX is ideal for small clubs, churches, meeting rooms and similar venues.
Mono sources such as guitar, vocal and drum mics, as well as stereo sources such as synthesizers, samples, and rhythm machines can be
combined at the console. The main stereo mix is sent to a pair of powered speakers (in this example graphic equalizers are used for room
voicing). The AUX send signals can be sent to amplifiers and speakers for on-stage monitoring. Signal processing can be provided by the
internal effects, or eternal processing gear fed by the effect sends. Insert patch points allow compressors and other processing gear to be applied
to specific channels.
PAN
REVERB
CUTOFF
KNOB
CONTROL
FUNCTION
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
MODE
KN 1
KN 3
KN 4
MEQ LOW MEQLOWMID MEQ HI M ID
KN 2
MEQ HIGH
EFFECT BYPASS
INSERTION
MASTER
VOLUME
VOLUME 1
VOLUME 2
VOLUME 3
SYSTEM
ARPEGGIO
VOICE
PERFORM
SLOT 1
MASTER
DRUM KITS
FAVORITES
PATTERN
MIXING
EDIT
JOB
PRE 2
A. PIANO
KEYBOARD
PRE 3
ORGAN
COMMON
SEQUENCER
SONG
INTEGRATED
SAMPLING
A
FILE
SEQ TRANSPORT
DEC/NO
UTILITY
INC/YES
SYN LEAD
1
SONG SCENE
SF1
1
PRE 1
GM
USER
PLG 1
GUITAR /
PLUCKED
BASS
STRINGS
SLOT 2
SLOT 3
PLG 2
PLG 3
BRASS
REED/PIPE
CATEGORY
SEARCH
BANK
ON/OFF
VOLUME 4
LOCATE
SF2
SF3
SF4
B
C
SYN PAD/
CHOIR
SYN COMP
2
3
D
E
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
F
G
H
SE
MUSICAL FX
COMBI
SECTION
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
GROUP
INFORMATION
SF5
2
ELEMENT/ PERF.PART / ZONE
NUMBER
REC
COMPARE
OCTAVE
DOWN
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
STORE
F1
F2
SCENE STORE
SET LOCATE
F3
F4
F5
F6
EXIT
ENTER
EXECUTE
9
10
11
SOLO
UP
PA Monitors
Synthesizer etc.
MIC
Power Amplifier
Guitar etc.
Graphic EQ
Drums
Compressor
Multi Effector
Powered Speakers
Just the Basics … With Class
If you simply need to mix a few sources to stereo – but insist on the finest audio quality available – the MG10/2 or MG8/2FX is probably the
way to go. They’re compact and convenient to use, but won’t compromise your signal in any way. With an optional adaptor the MG10/2 can
even be mounted on a microphone stand for totally flexible positioning and easy access. And the MG8/2FX’s built-in effects can take your
music to a new dimension. For demo and music production, small sound reinforcement applications, or simply as a super utility mixer for any
application, you can’t lose with these compact performers.
INPUT SECTION
8 or 10 Input Channels
The MG10/2 features a total of 10 input channels:
two mono microphone/line inputs and four stereo line
inputs, two of which offer mono microphone input
capability. The MG8/2FX has two mono
microphone/line inputs and three stereo line inputs,
two with mono microphone input capability. Gain
trim covers a wide -60dB ~ -16dB range for
microphone input, and -34dB ~ +10dB for line input.
A Variety of Input Connectors
MIXING CONSOLE
Balanced XLR
connectors are provided
on both mono inputs
and two of the stereo
inputs (a total of four
XLR connectors), in
addition to phone jack
connectors. Two of the
stereo channels can
accept mono
microphone input either via the XLR or phone jack
connectors. The remaining stereo input on the
MG8/2FX, and the remaining two stereo inputs on
the MG10/2, feature both phone jack and pin jack
inputs for broad connectivity. A separate stereo 2TR
input with pin-jack connectors is provided for
independent input of signals from CD players or
similar sources.
Four Low-noise, High-precision Mic
Preamps
The microphone
preamps provided on
the two mono channels
and two of the four
stereo channels would
be worth the price of
the entire mixer if
packaged separately.
These are highperformance head
amplifiers that will bring out the best in any dynamic
or condenser microphone.
Phantom Power
So you can take advantage of the superior sonic quality
of professional-class studio condenser microphones, all
four high-performance mic preamps feature switchable
phantom power. A single switch turns phantom power
on or off for all four channels.
Insert I/O
NEW
MIXING CONSOLE
Mono input channels feature insert I/O patch points
so you can add compressors or EQ for vocals, a noise
gate on a guitar channel, or other extra signal
processing to individual channels as required.
3-band Channel EQ & HPF
Easy Operation and High Reliability
Designed for smooth, “musical” response, the 3-band
equalizers provided on all input channels are one more
sonic tool you can use to create clean, professional
mixes. All mono microphone input channels also
feature a switchable high-pass filter that can be used to
cut out unwanted low-frequency noise.
All switches and controls used in these mixers have
been chosen for smooth, reliable operation as well as
easy visual confirmation.
MASTER SECTION
One or Two Aux Sends & Stereo Aux Return
These mixers are also fully equipped to handle external
effects and monitor systems. Use the post-fader
auxiliary send on the MG8/2FX or the two sends on
the MG10/2 in conjunction with the stereo auxiliary
returns to add reverb, delay, or other external effects to
the mix, and the pre-fader sends to feed a separate mix
to your monitor system.
Stereo, Control Room, Rec, and
Headphone Outputs
In addition to the main L and R phone-jack stereo
outputs, these versatile mixers also offer phone-jack
control room, pin-jack recording, and stereo phonejack headphone outputs. You have plenty of outputs
for a wide range of applications – monitoring, master
recorder feed, etc.
12-segment Meters for Accurate Visual
Monitoring
Output level monitoring is made accurate and easy
with high-visibility 12-segment level meters.
EASE OF USE
Compact, Portable Design
Weighing in at a mere 1.8 kg (MG8/2FX), this mixer
can easily be carried just about anywhere. You get topquality mixing performance in the rehearsal studio,
club, outdoors … wherever you need it.
Optional Mic Stand Mount
What could be more
convenient than having
your mixer mounted on
a microphone stand for
freedom of placement
and easy access? With
the optional BMS-10A
Mic Stand Adaptor you
can do just that, and
have your sonic control
center within easy reach
all the time. This can be
particularly handy when
using the mixer as a
drum sub-mixer or as a
cue box in a recording
situation.
Features Found Only on the MG8/2FX
Top-quality Digital Multi Effects Built In
It may be small, but
the MG8/2FX is
packed with a
surprising amount of
signal-processing
power. Renowned
Yamaha multi-effect
technology brings you
a range of reverb,
delay, chorus, flanger,
phaser, distortion, and
other effects built in –
a total of 16 types in
all (Same as
MG12/4FX). Each
effect program has a
number of editable parameters as well as effect
on/off switching and return level control.
Additional convenience is provided by a footswitch
jack to which you can connect an optional
footswitch for effect on/off switching.
Effect List
1. REVERB HALL 1
2. REVERB HALL 2
3. REVERB ROOM 1
4. REVERB ROOM 2
5. REVERB STAGE 1
6. REVERB STAGE 2
7. REVERB PLATE
8. DRUM AMBIENCE
9. KARAOKE ECHO
10. VOCAL ECHO
11. CHORUS 1
12. CHORUS 2
13. FLANGER
14. PHASER
15. AUTO WAH
16. DISTORTION
DIMENSIONS
Extensive Creative Control In the Studio Or On Stage
MIXING CONSOLE
MIXING CONSOLE
The mid-range MG models go beyond the basics to give you extensive control for a wide range of applications – with the no-compromise
Yamaha sonic quality that makes the MG mixers the finest in their class. Whether music is a hobby or profession, these mixers will deliver total
satisfaction. If you don’t need effects, or already have an arsenal of outboard favorites, the MG12/4 or MG16/4 may offer all the capacity and
capabilities you need.
INPUT SECTION
12 or 16 Input Channels
The MG12/4 feature a total of 12 input channels: four
mono microphone/line inputs and four stereo line
inputs, two of which offer mono microphone input
capability. The MG16/4 feature eight mono
microphone/line inputs and four stereo line inputs,
two with mono microphone input capability. Gain
trim covers a wide -60dB ~ -16dB range for
microphone input, and -34dB ~ +10dB for line input.
A Variety of Input Connectors
Balanced XLR connectors are provided on all four or
eight mono inputs and two of the stereo inputs (a total
of six XLR connectors on the MG12/4 models, and
ten on the MG16/4), in addition to phone jack
connectors. Two of the stereo channels can accept
mono microphone input either via the XLR or phone
jack connectors. The remaining two stereo inputs
feature both phone jack and pin jack inputs for broad
connectivity. A separate stereo 2TR input with pinjack connectors is provided for independent input of
signals from CD players or similar sources.
Six or Ten Low-noise, High-precision Mic
Preamps
Six high-performance
head amplifiers in the
12-channel modes or ten
in the 16-channel
models will bring out
the best in any dynamic
or condenser
microphone.
Four Buses (Stereo and Group)
In addition to the main stereo bus, the MG12/4 and
MG16/4 feature a stereo group bus and outputs that
can be used for convenient channel grouping. Stereo
and group bus assign switches are located above each
channel fader. You could, for example, mix your
instrument sources to the stereo buss while creating
separate groups for the main vocal and chorus
channels … or any bus configuration you need for
your application.
MASTER SECTION
The MG12/4 and MG16/4 have one post-fader AUX
send and one pre/post switchable AUX send.
Whichever model you choose you have plenty of
flexibility for external signal processing and
monitoring. A stereo auxiliary return is also provided.
A Comprehensive Selection Of Output
Connectors
In addition to the main L and R XLR and phone-jack
stereo outputs, these versatile mixers also offer phonejack control room, pin-jack recording, and stereo
phone-jack headphone outputs. You have plenty of
outputs for a wide range of applications – monitoring,
master recorder feed, etc. Phone-jack group outputs
are also provided to allow independent output of the
group bus mixes.
12-segment Meters for Accurate Visual
Monitoring
Phantom Power
All high-performance mic preamps in these consoles
feature switchable phantom power for studio
condenser microphones. A single switch turns
phantom power on or off for all channels.
EASE OF USE
Mono input channels feature insert I/O patch points
so you can add compressors or EQ for vocals, a noise
gate on a guitar channel, or other extra signal
processing to individual channels as required.
3-band Channel EQ & HPF
Smooth, “musical-response” 3-band equalizers are
provided on all MG12/4 and MG16/4 input channels.
All mono microphone input channels also feature a
switchable high-pass filter that can be used to cut out
unwanted low-frequency noise.
Compact and surprisingly light in weight, these mixers
can easily be carried just about anywhere. You get topquality mixing performance in the rehearsal studio,
club, outdoors … wherever you need it.
Rack Mount
Adaptors Included
Use your MG mixer on a
desktop or mounted in a
rack — the rack mount
adaptors are provided.
Aux and Effect Sends & Stereo Aux Return
Output level monitoring is made accurate and easy
with high-visibility 12-segment level meters on the
stereo and group buses as well as the 2TR inputs.
Insert I/O
Compact, Portable Design
Reliable 60-millimeter Faders &
Illuminated Switches
Reliable, highperformance 60millimeter faders provide
smooth, noise-free level
control. while original
Yamaha illuminated ON
(ST buss assign), PFL
(Pre-Fader Listen), and
phantom power switches
provide easy visual
confirmation of critical
console settings.
Easy Operation and High Reliability
All switches and controls used in these mixers have
been chosen for smooth, reliable operation as well as
easy visual confirmation.
DIMENSIONS
NEW
All The Effect Processing You Need Built In
MIXING CONSOLE
MIXING CONSOLE
If the idea of having some of the finest effects available built right into the console appeals to you, then consider the effect-enabled models: the
MG12/4FX or MG16/6FX. You get the same type of versatile mixing power and superior audio performance that is provided by the non-effect
models, plus leading Yamaha signal processing quality all in one console.
INPUT SECTION
MASTER SECTION
12 or 16 Input Channels
Aux and Effect Sends & Stereo Aux Return
The MG12/4FX feature a total of 12 input channels:
four mono microphone/line inputs and four stereo
line inputs, two of which offer mono microphone
input capability. The MG16/6FX feature eight mono
microphone/line inputs and four stereo line inputs,
two with mono microphone input capability. Gain
trim covers a wide -60dB ~ -16dB range for
microphone input, and -34dB ~ +10dB for line input.
A Variety of Input Connectors
Balanced XLR connectors are provided on all four or
eight mono inputs and two of the stereo inputs (a total
of six XLR connectors on the MG12/4FX model, and
ten on the MG16/6FX), in addition to phone jack
connectors. Two of the stereo channels can accept
mono microphone input either via the XLR or phone
jack connectors. The remaining two stereo inputs
feature both phone jack and pin jack inputs for broad
connectivity. A separate stereo 2TR input with pinjack connectors is provided for independent input of
signals from CD players or similar sources.
Six or Ten Low-noise, High-precision Mic Preamps
Six high-performance head amplifiers in the 12-channel
modes or ten in the 16-channel models will bring out
the best in any dynamic or condenser microphone.
7-band Stereo GEQ (MG16/6FX)
The MG16/6FX has one pre-fader AUX send and one
pre/post switchable AUX send, plus an additional
effect send. The MG12/4FX has one pre/post
switchable AUX send as well as an effect send.
Whichever model you choose you have plenty of
flexibility for external signal processing and
monitoring. A stereo auxiliary return is also provided.
There's also a 7-band
stereo graphic equalizer
for flexible overall
response shaping control
or feedback reduction.
The EQ bands are
centered at 125, 250,
500, 1k, 2k, 4k, and
8kHz, adjustable over a
12dB range.
A Comprehensive Selection
Of Output Connectors
Reliable 60-millimeter Faders &
Illuminated Switches
In addition to the main L and R XLR and phone-jack
stereo outputs, these versatile mixers also offer phonejack control room, pin-jack recording, and stereo
phone-jack headphone outputs. You have plenty of
outputs for a wide range of applications – monitoring,
master recorder feed, etc. Phone-jack group outputs
are also provided to allow independent output of the
group bus mixes.
12-segment Meters for Accurate Visual
Monitoring
Reliable, high-performance 60-millimeter faders
provide smooth, noise-free level control. while original
Yamaha illuminated ON (ST buss assign), PFL (PreFader Listen), and phantom power switches provide
easy visual confirmation of critical console settings.
Compact, Portable Design
Compact and surprisingly light in weight, these mixers
can easily be carried just about anywhere. You get topquality mixing performance in the rehearsal studio,
club, outdoors … wherever you need it.
Output level monitoring is made accurate and easy
with high-visibility 12-segment level meters on the
stereo and group buses as well as the 2TR inputs.
Rack Mount Adaptors Included
EASE OF USE
Easy Operation and High Reliability
Use your MG mixer on a desktop or mounted in a
rack – the rack mount adaptors are provided.
Phantom Power
All high-performance mic preamps in these consoles
feature switchable phantom power for studio
condenser microphones. A single switch turns
phantom power on or off for all channels.
Insert I/O
Mono input channels feature insert I/O patch points
so you can add compressors or EQ for vocals, a noise
gate on a guitar channel, or other extra signal
processing to individual channels as required.
3-band Channel EQ & HPF (MG12/4FX)
Smooth, “musical-response” 3-band equalizers are
provided on the MG12/4FX input channels. All mono
microphone input channels also feature a switchable
high-pass filter that can be used to cut out unwanted
low-frequency noise.
Versatile EQ for Effective Sound Shaping
(MG16/6FX)
Mono channels feature 3-band equalizers with HIGH
(10 kHz), LOW (100 Hz), and MID (250 Hz ~ 5
kHz mid-sweep) bands. High-pass filters are also
provided on all microphone inputs. Stereo channels
have 4-band equalizers with HIGH (10 kHz shelving),
HI MID (3 kHz peaking), LOW MID (800 Hz
peaking), and LOW (100 Hz shelving) bands.
Four or Six Buses (Stereo and Group)
In addition to the main stereo bus, the MG12/4FX
feature a stereo group bus and outputs that can be
used for convenient channel grouping. The
MG16/6FX has an additional two group busses for a
total of six buses. Stereo and group bus assign switches
are located above each channel fader. You could, for
example, mix your instrument sources to the stereo
buss while creating separate groups for the main vocal
and chorus channels … or any bus configuration you
need for your application.
Top-quality Digital Effects Built In
Yamaha digital signal processing is widely respected as
the finest in the industry. It may be small, but the
MG12/4FX is packed with a surprising amount of
signal-processing power. Renowned Yamaha multieffect technology brings you a range of reverb, delay,
chorus, flanger, phaser, distortion, and other effects
built in a total of 16 types in all. In the MG16/6FX
you get a complete effects system with a range of 16
superb reverb and delay effects built right in. Each
effect program has a number of editable parameters as
well as effect on/off switching and return level control.
Additional convenience is provided by a footswitch
jack to MG12/4FX which you can connect an
optional footswitch for effect on/off switching .
Effect List
1. REVERB HALL 1
2. REVERB HALL 2
3. REVERB ROOM 1
4. REVERB ROOM 2
5. REVERB STAGE 1
6. REVERB STAGE 2
7. REVERB PLATE
8. DRUM AMBIENCE
9. KARAOKE ECHO
10. VOCAL ECHO
11. CHORUS 1
12. CHORUS 2
13. FLANGER
14. PHASER
15. AUTO WAH
16. DISTORTION
1. HALL 1
2. HALL 2
3. HALL 3
4. ROOM
5. PLATE 1
6. PLATE 2
7. PLATE 3
8. GATE REVERB
9. VOCAL ECHO 1
10. VOCAL ECHO 2
11. VOCAL ECHO 3
12. VOCAL ECHO 4
13. VOCAL REVERB 1
14. VOCAL REVERB 2
15. VOCAL REVERB 3
16. VOCAL REVERB 4
All switches and controls used in these mixers have
been chosen for smooth, reliable operation as well as
easy visual confirmation.
DIMENSIONS
Serious Capacity For Sound Reinforcement & Installations
Panel Layout
MIXING CONSOLE
MONO
Input
Channel
STEREO
Input
Channel
SPX Effect
Section
Master
Section
If your application is live sound reinforcement you’ll want all the channel capacity you can get — just in case. Vocal mics, instrument mics,
stereo keyboards, direct-injection feeds, drum mics, and the rest can add up very quickly. With 24 and 32 input channels, respectively, the
MG24/14FX and MG32/14FX are ready to handle all but the most ambitious sound-reinforcement setups. And with dual SPX digital effect
systems on-board you won’t need racks of outboard gear to get the sound you need. There's also a comprehensive range of group and auxiliary
busses to make even complex mixes easy.
INPUT SECTION
MASTER SECTION
EASE OF USE
24 or 32 Input Channels
14 Buses In All For Flexible Signal Routing
Dual SPX Digital Effects
Choose either the 24-channel MG24/14FX or the 32channel MG32/14FX according to your needs. All other
features are the same. The MG24/14FX has 16 mono
microphone/line channels while the MG32/14FX has
24. Both offer four stereo line channels in addition to
the mono mic/line channels. Gain trim covers a wide 60dB ~ -16dB range for microphone input, and -34dB
~ +10dB for line input. Peak indicators are also provided
for effect input gain setup.
In addition to lots of input channels, live sound
reinforcement applications usually demand a number of
additional mixes – usually in the form of group submixes and aux sends for external signal processing and
monitor mixes. In both the MG24/14FX and
MG32/14FX you have a total of 14 mix buses: the main
stereo program bus, four stereo group bus pairs for
convenient channel grouping, six auxiliary busses (four
configurable for pre- or post-fader operation and two set
up as effect sends), and two internal effect busses that
feed the dual high-performance built-in effect processors.
You can use the bus select switches and controls on each
channel to assign the channel signal to the stereo, group,
internal effect, and AUX buses as required.
In the MG24/14FX and
MG32/14FX you have
not one, but two highperformance digital signal processing stages, fed by
separate effect buses, so you can enhance your mix with
two separate effects at the same time. And the effects are
provided by the very latest Yamaha DSP technology –
you know you're getting the best.
Each stage provides a selection of 16 professionalquality SPX digital effects, including reverb, delay,
pitch change, chorus, phasing, vocal doubling,
distortion, and more.
Parameter controls that can be adjusted to tailor the
effects to your sonic requirement are also provided and
Tap delay makes it easy to produce temposynchronized delays.
A Variety of Input Connectors
MIXING CONSOLE
Balanced XLR and phone-jack connectors are
provided on all mono inputs (channels 1 ~ 16 on the
MG24/14FX, and channels 1 ~ 24 on the
MG32/14FX). Two of the stereo channels feature both
pin-jack and phone jack connectors. A separate stereo
2TR input with pin-jack connectors is provided for
independent input of signals from CD players or
similar sources.
Low-noise, High-precision Mic Preamps
All 16 mic preamps in the MG24/14FX and all 24
mic preamps in the MG32/14FX are of exemplary
quality. They offer low-noise, transparent
amplification with the widest possible range of
dynamic and condenser microphones, which adds up
to cleaner, better-sounding mixes.
Switchable Phantom Power
All mic preamps feature switchable +48V phantom
power for phantom-powered studio condenser
microphones. Phantom power is switchable in 8channel groups.
Insert I/O
All mono input channels feature insert I/O patch
points so you can insert compressors, EQ, or other
extra signal-processing gear into the channel signal
path as required. Insert patch points are also provided
on the stereo and group buses for effective output
processing.
Versatile EQ for Effective Sound Shaping
Mono channels feature 3-band equalizers with HIGH
(10 kHz), LOW (100 Hz), and MID (250 Hz ~ 5
kHz sweep) bands. High-pass filters are also provided
on all microphone inputs. Stereo channels have 4band equalizers with HIGH (10 kHz shelving), HI
MID (3 kHz peaking), LOW MID (800 Hz peaking),
and LOW (100 Hz shelving) bands.
DIMENSIONS
Six Aux Sends & Two Stereo Aux Returns
All input channels feature six AUX send controls.
AUX sends 1 through 4 are pre/post switchable while
AUX 5 and 6 are post-fader sends. Two effect sends are
also provided. You choose you have plenty of flexibility
for external signal processing and monitoring in live
sound-reinforcement applications. Two stereo auxiliary
returns are included, as well as return facilities for the
internal effect stages.
A Comprehensive Selection Of Output Connectors
In addition to the main L and R XLR and phone-jack
stereo outputs, these versatile mixers also offer L and R
phone-jack sub-stereo, pin-jack recording, XLR mono,
and stereo phone-jack headphone outputs. You have
plenty of outputs for a wide range of applications –
monitoring, master recorder feed, etc. Phone-jack
group outputs are also provided to allow independent
output of the group bus mixes.
Balanced XLR Stereo and Mono Outputs
Professional connectivity is provided by reliable XLRtype balanced stereo and mono outputs.
Sweepable LPF for Mono Out
One of the many uses for a mono output is to drive a
subwoofer system. The MG24/14FX and MG32/14FX
make this easier than ever with a built-in 80 ~ 120 Hz
sweepable low-pass filter on the mono outputs.
12-segment Meters for Accurate Visual Monitoring
Output level monitoring is made accurate and easy
with four high-visibility 12-segment level meters that
can be switched to display the stereo, group, 2TR
input, PFL (Pre-fader Listen), and AFL (After-fader
Listen) signal levels.
Effect List
Effect A
1. REVERB HALL
2. REVERB ROOM
3. REVERB PLATE
4. REVERB VOCAL 1
5. REVERB VOCAL 2
6. VOCAL ECHO 1
7. VOCAL ECHO 2
8. DELAY 1
9. DELAY 2
10. MOD.DELAY
11. REVERB GATE
12. PITCH CHANGE
13. CHORUS
14. PHASER
15. RADIO VOICE
16. TREMOLO
Effect B
1. REVERB HALL
2. REVERB ROOM
3. REVERB PLATE
4. REVERB VOCAL 1
5. REVERB VOCAL 2
6. VOCAL ECHO 1
7. VOCAL ECHO 2
8. DELAY 1
9. DELAY 2
10. EARLY REF.
11. GATE REVERB
12. VOCAL DOUBLER
13. SYNPHONIC
14. FLANGE
15. DISTORTION
16. TAP DELAY
Reliable 60-millimeter Faders & Illuminated Switches
Reliable, high-performance 60-millimeter faders
provide smooth, noise-free level control. while original
Yamaha illuminated ON (ST buss assign), PFL (PreFader Listen), and phantom power switches provide
easy visual confirmation of critical console settings.
Talkback Input
Communication capability is important for efficient setup
as well as for keeping a show running smoothly. The
MG24/14FX and MG32/14FX both feature a talkback
system that allows the FOH engineer to communicate
with the monitor engineer, performers, or other staff to
keep the team operating at optimum efficiency.
Compact, Portable Design
Compact and surprisingly light in weight, these mixers
can easily be carried just about anywhere. You get topquality mixing performance in the rehearsal studio,
club, outdoors … wherever you need it.
MG Series Specifications
MG10/2 INPUT CHARACTERISTICS
CH IN MIC (1 – 2)
CH IN LINE (1 – 2)
ST CH MIC IN
(CH 3 – 4, 5 – 6)
ST CH LINE IN
(CH 3 – 4, 5 – 6)
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
ST CH INPUT
(CH 7 – 8, 9 – 10)
CH INSERT IN (1 – 2)
AUX RETURN [L, R]
2TR IN [L, R]
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
MG12/4FX INPUT CHARACTERISTICS
Input Level *1
Nominal
Max. before Clip
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
+4 dBu (1.23 V)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
-10 dBu (245 mV)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
10 kΩ
600 Ω Lines
-10 dBu (245 mV)
+10 dBu (2.45 V)
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
600 Ω Lines
0 dBu (0.775 V)
+4 dBu (1.23 V)
-10 dBV (316 mV)
+20 dBu (7.75 V)
+24 dBu (12.3 V)
+10 dBV (3.16 V)
Connector In Mixer
XLR-3-31 type *2
CH IN MIC (CH1 – 4)
Phone Jack (TRS) *3
CH IN LINE (CH1 – 4)
XLR-3-31 type *2
ST CH MIC IN
(CH 5 – 6, 7 – 8)
Phone Jack *4
ST CH LINE IN
(CH 5 – 6, 7 – 8)
Phone Jack *4
RCA Pin Jack
Phone Jack (TRS) *5
Phone Jack *4
RCA Pin Jack
Actual Source
Impedance
150 Ω
150 Ω
150 Ω
600 Ω
150 Ω
100 Ω
ST OUT [L, R]
AUX SEND
CH INSERT OUT (1 – 2)
2TR OUT [L, R]
C-R OUT [L, R]
PHONES OUT
For Use With
Nominal
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
40 Ω Phones
Output Level *1
Nominal
Max. before Clip
+4 dBu (1.23 V)
+20 dBu (7.75 V)
+4 dBu (1.23 V)
+20 dBu (7.75 V)
0 dBu (0.775 V)
+20 dBu (7.75 V)
-10 dBV (316 mV)
+10 dBV (3.16 V)
+4 dBu (1.23 V)
+20 dBu (7.75 V)
3 mW
75 mW
CH IN MIC (1 – 2)
CH IN LINE (1 – 2)
ST CH MIC IN
(CH 3 – 4, 5 – 6)
ST CH LINE IN
(CH 3 – 4, 5 – 6)
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
ST CH INPUT
(CH 7 – 8)
CH INSERT IN (1 – 2)
AUX RETURN [L, R]
2TR IN [L, R]
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
Phone Jack (TRS) *6
Phone Jack (TRS) *6
Phone Jack (TRS) *5
RCA Pin Jack
Phone Jack (TRS) *6
Stereo Phones Jack
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
10 kΩ
600 Ω Lines
-10 dBu (245 mV)
+10 dBu (2.45 V)
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
600 Ω Lines
0 dBu (0.775 V)
+4 dBu (1.23 V)
-10 dBV (316 mV)
+20 dBu (7.75 V)
+24 dBu (12.3 V)
+10 dBV (3.16 V)
Actual Source
Impedance
150 Ω
150 Ω
150 Ω
600 Ω
150 Ω
100 Ω
ST OUT [L, R]
EFFECT SEND
CH INSERT OUT (1 – 2)
2TR OUT [L, R]
C-R OUT [L, R]
PHONES OUT
For Use With
Nominal
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
40 Ω Phones
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
Input Level *1
Nominal
Max. before Clip
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
+4 dBu (1.23 V)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
-10 dBu (245 mV)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
10 kΩ
600 Ω Lines
-10 dBu (245 mV)
+10 dBu (2.45 V)
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
600 Ω Lines
0 dBu (0.775 V)
+4 dBu (1.23 V)
-10 dBV (316 mV)
+20 dBu (7.75 V)
+24 dBu (12.3 V)
+10 dBV (3.16 V)
Connector In Mixer
XLR-3-31 type *2
Phone Jack (TRS) *3
XLR-3-31 type *2
Phone Jack *4
Phone Jack *4
RCA Pin Jack
Phone Jack (TRS) *5
Phone Jack *4
RCA Pin Jack
Output Level *1
Nominal
Max. before Clip
Actual Source
Impedance
For Use With
Nominal
ST OUT [L, R]
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+24 dBu (12.3 V)
XLR-3-32 type *2
Phone Jack (TRS) *4
150 Ω
10 kΩ Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack (TRS) *13
150 Ω
600 Ω
150 Ω
100 Ω
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
40 Ω Phones
0 dBu (0.775 V)
-10 dBV (316 mV)
+4 dBu (1.23 V)
3 mW
+20 dBu (7.75 V)
+10 dBV (3.16 V)
+20 dBu (7.75 V)
75 mW
Phone Jack (TRS) *5
RCA Pin Jack
Phone Jack (TRS) *6
Stereo Phones Jack
GROUP OUT (1, 2)
AUX SEND (1, 2)
EFFECT SEND
CH INSERT OUT (CH1 – 4)
REC OUT [L, R]
C-R OUT [L, R]
PHONES
Connector In Mixer
MG16/6FX INPUT CHARACTERISTICS
Input Level *1
Nominal
Max. before Clip
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
+4 dBu (1.23 V)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
-10 dBu (245 mV)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
Connector In Mixer
CH IN MIC (CH1 – 8)
Phone Jack (TRS) *3
CH IN LINE (CH1 – 8)
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
Input Level *1
Nominal
Max. before Clip
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
+4 dBu (1.23 V)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
-10 dBu (245 mV)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
ST CH INPUT *8
10 kΩ
600 Ω Lines
-10 dBu (245 mV)
+10 dBu (2.45 V)
CH INSERT IN (1 – 8)
AUX RETURN [L, R]
2TR IN [L, R]
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
600 Ω Lines
0 dBu (0.775 V)
+4 dBu (1.23 V)
-10 dBV (316 mV)
+20 dBu (7.75 V)
+24 dBu (12.3 V)
+10 dBV (3.16 V)
XLR-3-31 type *2
ST CH MIC IN *7
Phone Jack *4
ST CH LINE IN *7
Phone Jack *4
RCA Pin Jack
Phone Jack (TRS) *5
Phone Jack *4
RCA Pin Jack
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
Connection
XLR-3-31 type *2
Connector In Mixer
XLR-3-31 type *2
Phone Jack (TRS) *6
XLR-3-31 type *2
Phone Jack *4
Phone Jack *4
RCA Pin Jack
Phone Jack (TRS) *5
Phone Jack *4
RCA Pin Jack
MG16/6FX OUTPUT CHARACTERISTICS
MG8/2FX OUTPUT CHARACTERISTICS
Connection
For Use With
Nominal
Connection
Connector In Mixer
MG8/2FX INPUT CHARACTERISTICS
Connection
ST CH INPUT
(CH 9 – 10, 11 – 12)
CH INSERT IN (1 – 8)
RETURN [L, R]
2TR IN [L, R]
Actual Load
Impedance
MG12/4FX OUTPUT CHARACTERISTICS
MG10/2 OUTPUT CHARACTERISTICS
Connection
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
Connection
EFFECT
Connection
*1
Output Level
Nominal
Max. before Clip
+4 dBu (1.23 V)
+20 dBu (7.75 V)
+4 dBu (1.23 V)
+20 dBu (7.75 V)
0 dBu (0.775 V)
+20 dBu (7.75 V)
-10 dBV (316 mV)
+10 dBV (3.16 V)
+4 dBu (1.23 V)
+20 dBu (7.75 V)
3 mW
75 mW
Phone Jack (TRS) *6
Phone Jack (TRS) *6
Phone Jack (TRS) *5
RCA Pin Jack
Phone Jack (TRS) *6
Stereo Phones Jack
Output Level *1
Nominal
Max. before Clip
Connection
Actual Source
Impedance
For Use With
Nominal
ST OUT [L, R]
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+24 dBu (12.3 V)
XLR-3-32 type *2
Phone Jack (TRS) *13
150 Ω
10 kΩ Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack (TRS) *6
150 Ω
600 Ω
150 Ω
100 Ω
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
40 Ω Phones
0 dBu (0.775 V)
-10 dBV (316 mV)
+4 dBu (1.23 V)
3 mW
+20 dBu (7.75 V)
+10 dBV (3.16 V)
+20 dBu (7.75 V)
75 mW
Phone Jack (TRS) *5
RCA Pin Jack
Phone Jack (TRS) *6
Stereo Phones Jack
Connector In Mixer
GROUP OUT (1 – 4)
AUX SEND (1, 2)
EFFECT SEND
CH INSERT OUT (CH1 – 8)
REC OUT [L, R]
C-R OUT [L, R]
PHONES OUT
Connector In Mixer
EFFECT
EFFECT
CH IN MIC *7
CH IN LINE *7
ST CH MIC IN *8
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
3 kΩ
50 – 600 Ω Mics
MG24/14FX, MG32/14FX INPUT CHARACTERISTICS
Input Level *1
Nominal
Max. before Clip
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
+4 dBu (1.23 V)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-16 dBu (123 mV)
-10 dBu (245 mV)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
10 kΩ
600 Ω Lines
ST CH INPUT *9
10 kΩ
600 Ω Lines
-10 dBu (245 mV)
+10 dBu (2.45 V)
CH INSERT IN *7
AUX RETURN [L, R]
2TR IN [L, R]
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
600 Ω Lines
0 dBu (0.775 V)
+4 dBu (1.23 V)
-10 dBV (316 mV)
+20 dBu (7.75 V)
+24 dBu (12.3 V)
+10 dBV (3.16 V)
ST CH LINE IN *8
Connector In Mixer
CH INPUT [A, B] *7
Phone Jack (TRS) *3
XLR-3-31 type *2
Phone Jack *4
Phone Jack *4
RCA Pin Jack
Phone Jack (TRS) *1
Phone Jack *3
RCA Pin Jack
MG12/4, MG16/4 OUTPUT CHARACTERISTICS
Output Level *1
Nominal
Max. before Clip
Connection
Actual Source
Impedance
For Use With
Nominal
ST OUT [L, R]
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+24 dBu (12.3 V)
GROUP OUT (1 – 2)
CH INSERT OUT *7
REC OUT [L, R]
C-R OUT [L, R]
PHONES OUT
150 Ω
150 Ω
600 Ω
150 Ω
100 Ω
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
10 kΩ Lines
40 Ω Phones
+4 dBu (1.23 V)
0 dBu (0.775 V)
-10 dBV (245 mV)
+4 dBu (1.23 V)
3 mW
+20 dBu (7.75 V)
+20 dBu (7.75 V)
+10 dBV (2.45 V)
+20 dBu (7.75 V)
75 mW
*1
*2
*3
*4
*5
*6
*7
In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
XLR type connectors are balanced.
CH INPUT Phone Jacks (TRS) are balanced. [T: HOT, R: COLD, S: GND]
Phone Jacks are unbalanced.
INSERT Phone Jacks (TRS) are unbalanced. [T: OUT, R: IN, S: GND]
Phone Jacks (TRS) are impedance balanced. [T: HOT, R: COLD, S: GND]
MG12/4: CH1 – CH4, MG16/4: CH1 – CH8, MG16/6FX: CH9 (L)/10 (R), CH11 (L)/12 (R),
MG24/14FX: CH1 – 16, MG32/14FX: CH1 – 24
Connection
XLR-3-31 type *2
Connector In Mixer
XLR-3-32 type *2
Phone Jack (TRS) *13
Phone Jack (TRS) *6
Phone Jack (TRS) *5
RCA Pin Jack
Phone Jack (TRS) *6
Stereo Phones Jack
*8 MG12/4: CH5 (L)/6 (R), CH7 (L)/8 (R), MG16/4: CH9 (L)/10 (R), CH11 (L)/12 (R), MG16/6FX:
CH13 (L)/14 (R), CH15 (L)/16 (R), MG24/14FX: CH17 (L)/18 (R), CH19 (L)/20 (R),
MG32/14FX: CH25 (L)/26 (R), CH27 (L)/28 (R)
*9 MG12/4: CH9 (L)/10 (R), CH11 (L)/12 (R), MG16/4: CH13 (L)/14 (R), CH15 (L)/16 (R),
MG24/14FX: CH21 (L)/22 (R), CH23 (L)/24 (R), MG32/14FX: CH29 (L)/30 (R), CH31 (L)/32 (R)
*10 CH INPUT XLR type connectors and Phone Jacks (TRS) are balanced. [T: HOT, R: COLD, S: GND]
*11 TB IN XLR type connector is unbalanced.
*12 MG24/14FX: CH1 – 16, MG32/14FX: CH1 – 24
*13 Phone Jacks (TRS) are balanced. [T:HOT, R:COLD, S:GND]
PAD
0
26
0
26
ST CH INPUT *8 *9
CH INSERT IN *7
GROUP INSERT IN (1 – 4)
SUB IN (1, 2) [L, R]
TB IN
2TR IN [L, R]
Gain
Trim
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50 – 600 Ω Mics
600 Ω Lines
-60
-16
-34
10
10 kΩ
600 Ω Lines
10 kΩ
10 kΩ
10 kΩ
10 kΩ
10 kΩ
600 Ω Lines
600 Ω Lines
600 Ω Lines
50 – 600 Ω Mics
600 Ω Lines
Input Level *1
Nominal
Max. before Clip
-60 dBu (0.775 mV)
-40 dBu (7.75 mV)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
-16 dBu (123 mV)
+4 dBu (1.23 V)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
-34 dBu (15.5 mV)
-14 dBu (155 mV)
+10 dBu (2.45 V)
+30 dBu (24.5 V)
0 dBu (0.775 V)
+20 dBu (7.75 V)
0 dBu (0.775 V)
+20 dBu (7.75 V)
+4 dBu (1.23 V)
+24 dBu (12.3 V)
-50 dBu (2.45 mV)
-30 dBu (24.5 mV)
-10 dBV (316 mV)
+10 dBV (3.16 V)
Connector In Mixer
A: XLR-3-31 type *10
B: Phone Jack (TRS) *10
Phone Jack *8 *9 *7
RCA Pin Jack *9
EFFECT
Phone Jack (TRS) *5
Phone Jack *4
XLR-3-31 type *11
RCA Pin Jack
MG24/14FX, MG32/14FX OUTPUT CHARACTERISTICS
Output Level *1
Nominal
Max. before Clip
[0dBu]
Connection
Actual Source
Impedance
For Use With
Nominal
ST OUT [L, R]
MONO OUT
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+24 dBu (12.3 V)
XLR-3-32 type *2
GROUP OUT (1 – 4)
AUX OUT (1 – 6)
150 Ω
600 Ω Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack (TRS) *6
ST SUB OUT [L, R]
EFFECT OUT (1, 2)
150 Ω
10 kΩ Lines
+4 dBu (1.23 V)
+20 dBu (7.75 V)
Phone Jack (TRS) *6
150 Ω
10 kΩ Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
Phone Jack (TRS) *5
CH INSERT OUT *12
GROUP INSERT OUT (1 – 4)
ST INSERT OUT [L, R]
REC OUT [L, R]
PHONES OUT
Connector In Mixer
[0dBu]
Connection
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
PROGRAM
PARAMETER
600 Ω
100 Ω
10 kΩ Lines
40 Ω Phones
-10 dBV (316 mV)
3 mW
+10 dBV (3.16 V)
75 mW
RCA Pin Jack
Stereo Phone Jack
Specifications and appearance subject to change without notice.
All trademarks and registered trademarks are property of their respective owners.
EFFECT ON
IN
L OUT [0dBu]
DIGITAL
EFFECT
MG12/4, MG16/4 INPUT CHARACTERISTICS
EFFECT RTN
R OUT [0dBu]
MUTE
FOOT SW
EFFECT
EFFECT
EFFECT
EFFECT RTN
BA
[+4dBu]
SEND/EFFECT
CH5/6•CH7/8
3
CH5(L)/6(R)•CH7(L)/8(R)
R
CH9(L)/10(R)•CH11(L)/12(R)
3
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