MIXING CONSOLE

MIXING CONSOLE
MG
Series
MIXING CONSOLE
ISO9001
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A Century Of Sound Behind Six Superlative Mixers
Yamaha is an unusual company. There are very few
others who can claim “total music involvement”, but
that is Yamaha’s position. We’ve been making fine
musical instruments for more than 100 years, industryleading sound reinforcement mixers for more than 30
years, and cutting-edge digital mixers and music
production gear for 15 years. In sound-reinforcement
terms 30 years is a very long time. In fact, 30 years is
roughly equal to the total history of sound reinforcement
(the term “sound reinforcement” wasn’t even used back
then – it was still “PA”), and we’ve been there the entire
time. Innovating, leading, and in many ways defining
the development of modern mixing consoles.
We’re still at it. We are proud to introduce the Yamaha
MG-series mixing consoles, featuring six models ranging
in size from a small 10-channel/2-bus unit right up to a
very flexible 32-channel/14-bus type with an impressive
selection of built-in effects. There have been no
compromises. The MG 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.
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 is
probably the way to go. It’s 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. For demo and music production in your personal studio, for band rehearsal or small sound reinforcement
applications, or simply as a super utility mixer for any application, you can’t lose with the MG10/2.
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.
MIXING CONSOLE
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 high-performance
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 of the MG10/2’s highperformance mic preamps feature switchable
phantom power. A single switch turns phantom
power on or off for all four channels.
Insert I/O
Two Aux Sends & Stereo Aux Return
Mono input channels feature insert I/O patch
points so you can add compressors, EQ, or other
extra signal-processing to the channels as
required.
The MG10/2 is also full equipped to handle
external effects and monitor systems. Use the
post-fader auxiliary sends in conjunction with
the stereo auxiliary returns to add reverb, delay,
or other external effects to the mix, and the prefader sends to feed a separate mix to your
monitor system.
3-band Channel EQ & HPF
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 highpass filter that can be used to cut out unwanted
low-frequency noise.
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 BMS10A Mic Stand Adaptor you can do just that,
and have your sonic control center within easy
reach all the time.
When You Need
Extra Input Capacity …
10 Low-noise,
High-precision Mic Preamps
Two Aux Sends
& Stereo Aux Return
Ten high-performance head amplifiers will
deliver optimum performance with any dynamic
or condenser microphone.
Each input channel has two auxiliary sends –
one post-fader and one switchable for pre- or
post-fader operation – affording plenty of
flexibility for external signal processing and
monitoring. A stereo auxiliary return is also
provided.
Phantom Power
All ten mic preamps feature switchable phantom
power for studio condenser microphones.
A single switch turns phantom power on or off
for all 10 channels.
Insert I/O
Add compressors, EQ, or other signal-processing
gear to the mono channels as required via insert
I/O patch points.
MIXING CONSOLE
Four Buses (Stereo and Group)
Extensive Creative Control In the Studio Or On Stage
The MG16/4 features a stereo group bus and
outputs that can be used for convenient channel
grouping, in addition to the main stereo bus.
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. But if the idea of having some
of the finest effects available built right into the console appeals to you, then consider the effect-enabled MG16/6FX.
Superlative Balance Of Sound,
Size and Features
12 Input Channels
3-band Channel EQ & HPF
Four mono microphone/line inputs and four
stereo line inputs, two of which offer mono
microphone input capability.
Smooth, “musical-response” 3-band equalizers
on all input channels. All mono microphone
input channels also feature a switchable highpass filter that can be used to cut out unwanted
low-frequency noise.
Six Low-noise,
High-precision Mic Preamps
Six high-performance head amplifiers that will
bring out the best in any dynamic or condenser
microphone.
Phantom Power
All six of the MG12/4’s high-performance mic
preamps feature switchable phantom power for
studio condenser microphones. A single switch
turns phantom power on or off for all six
channels.
Insert I/O
All mono input channels feature insert I/O
patch points so you can add extra signalprocessing to the channels as required.
Four Buses (Stereo and Group)
In addition to the main stereo bus, the MG12/4
features a stereo group bus and outputs that can
be used for convenient channel grouping.
3-band Channel EQ & HPF
16 Input Channels
Eight mono microphone/line inputs and four
stereo line inputs. Two of the stereo inputs also
offer mono microphone input capability.
10 Low-noise,
High-precision Mic Preamps
No Outboard
Signal-processing Gear Required!
Two Aux Sends & Stereo Aux Return
Two auxiliary sends on each channel – one postfader and one switchable for pre- or post-fader
operation – provide plenty of flexibility for
external signal processing and monitoring. A
stereo auxiliary return is also provided.
16 Input Channels
Eight mono microphone/line inputs and four
stereo line inputs. Two of the stereo inputs also
offer mono microphone input capability.
Desktop or rackmounted, your MG
mixer will happily
integrate in any
setup. Rack mount
adaptors are
provided.
Six Buses (Stereo and Two Group Pairs)
Phantom Power
3-band Mid-sweep Channel EQ & HPF
All ten mic preamps feature switchable phantom
power for phantom-powered studio condenser
microphones. A single switch turns phantom
power on or off for all 10 channels.
Smooth, “musical-response” 3-band equalizers
with a sweepable mid-band on all 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.
Internal Digital Effects & 7-band Stereo GEQ
Rack Mount Adaptors Included
Rack Mount Adaptors Included
Ten high-performance head amplifiers offer
superior performance with any dynamic or
condenser microphone.
Add compressors, EQ, or other signal-processing
gear to the mono channels as required via insert
I/O patch points.
Illuminated ON (ST buss assign), PFL (PreFader Listen), and phantom-power switches
provide easy visual confirmation of critical
console settings.
Illuminated ON (ST
buss assign), PFL
(Pre-Fader Listen),
and phantom-power
switches provide easy
visual confirmation
of critical console
settings.
The MG16/6FX features two pairs of stereo
group buses and outputs that can be used for
convenient channel grouping, in addition to the
main stereo bus.
Insert I/O
Illuminated Switches
Use your MG mixer
on a desktop or
mounted in a rack –
the rack mount
adaptors are
provided.
Smooth, “musical-response” 3-band equalizers
on all input channels. All mono microphone
input channels also feature a switchable highpass filter that can be used to cut out unwanted
low-frequency noise.
Illuminated Switches
Yamaha digital signal
processing is widely
respected as the finest
in the industry. In
the MG16/6FX you
get a complete effects
system with a range
of 16 superb reverb
and delay effects built right in. There’s also a
7-band stereo graphic equalizer for flexible
overall response shaping control.
Three Aux Sends & Stereo Aux Return
Each input channel has three auxiliary sends –
one post-fader “Effect” send, one switchable for
pre- or post-fader operation, and one pre-fader
send – affording plenty of flexibility for external
signal processing and monitoring. A stereo
auxiliary return is also provided.
Illuminated Switches
Illuminated ON (ST buss assign), PFL (PreFader Listen), and phantom-power switches
provide easy visual confirmation of critical
console settings.
Rack Mount Adaptors Included
Your MG mixer will happily fit in with any
setup – desktop or rack-mounted. Rack mount
adaptors are provided.
24 or 32 Input Channels
Choose either the 24-channel MG24/14FX or
the 32-channel MG32/14MX 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.
Low-noise,
High-precision Mic Preamps
With Phantom Power
MIXING CONSOLE
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.
All mic preamps feature switchable phantom
power for phantom-powered studio condenser
microphones. Phantom power is switchable in
8-channel groups.
Illuminated Switches
Serious Capacity For Sound Reinforcement & Installations
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.
Illuminated ON (channel), PFL (Pre-Fader
Listen), and phantom-power switches let you
confirm critical console settings at a glance.
14 Buses In All For
Flexible Signal Routing
In addition to lots of
input channels, live
sound reinforcement
applications usually
demand a number of
additional mixes –
usually in the form of
group sub-mixes 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.
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.
3-band Mid-sweep Channel EQ
and HPF
The 3-band equalizers with a sweepable midband provided on all input channels are
designed for exceptionally smooth, intuitive
response that can help you to create cleaner,
tighter mixes.
All mono microphone input channels also
feature a switchable high-pass filter that can be
used to cut out unwanted low-frequency noise.
Dual SPX Digital Effects
In the MG24/14FX
and MG32/14FX
you have not one, but
two high-performance
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 professional
– quality 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
tempo-synchronized delays.
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.
Balanced XLR Stereo
and Mono Outputs
Professional connectivity is provided by reliable
XLR-type 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 sweepable low-pass filter on the mono
outputs.
Application Examples
MG Series Specifications
MG10/2
MG12/4
1. Basic Mix & Recording
Crosstalk
Mic
Line
4 (Ch 1 – 2, 3/4, 5/6: XLR)
2 (Ch 1 – 2: TRS)
2 (Ch 3 – 4, 5 – 6: TRS) * Ch3, 5: L (MONO)
Stereo
2 (Ch 7 – 8, 9 – 10: TRS/RCA)
Insert I/O 2 (Ch 1 – 2: TRS = T: Out, R: In, S: Gnd)
Send
2 (1/Pre, 2/Post: TRS)
AUX
Return
1 Stereo (L/MONO, R: TRS)
EFFECT
Send
—
2TR
In
1 Stereo (L, R: RCA)
REC
Out
1 Stereo (L, R: RCA)
ST
Out
1 Stereo (L, R: TRS)
C/R
Out
1 Stereo (L, R: TRS)
GROUP
Out
—
Phones
1 (TRS 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)
±15 dB (Max.)
Low
100 Hz (Shelving)
High
10 kHz (Shelving)
Hi-Mid
—
CH EQ (STEREO) *2
Mid
2.5 kHz (Peaking)
±15 dB (Max.)
Low-Mid
—
Low
100 Hz (Shelving)
MIC
CH Input
Guitar etc.
Cassette or MD
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
VOLUME 4
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
SYSTEM
ARPEGGIO
VOICE
PERFORM
SLOT 1
MASTER
DRUM KITS
PRE 2
PRE 1
PRE 3
GM
USER
PLG 1
GUITAR /
PLUCKED
BASS
STRINGS
SLOT 2
SLOT 3
PLG 2
PLG 3
BRASS
REED/PIPE
CATEGORY
SEARCH
BANK
ON/OFF
FAVORITES
PATTERN
MIXING
EDIT
JOB
A. PIANO
KEYBOARD
ORGAN
COMMON
SEQUENCER
SONG
INTEGRATED
SAMPLING
A
FILE
SEQ TRANSPORT
DEC/NO
UTILITY
INC/YES
SYN LEAD
1
SONG SCENE
SF1
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
1
ELEMENT/ PERF.PART / ZONE
NUMBER
REC
COMPARE
OCTAVE
DOWN
STORE
F1
F2
F3
F4
F5
EXIT
F6
10
9
ENTER
11
SOLO
EXECUTE
SCENE STORE
SET LOCATE
UP
Synthesizer etc.
Graphic Equalizer
2. Computer-based 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.
Compressor
Power Requirements *4
MIC
Guitar etc.
Other
Option
*1
*2
*3
*4
PAN
REVERB
CUTOFF
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
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
DEC/NO
SONG SCENE
SF1
1
PRE 2
KEYBOARD
PRE 3
ORGAN
COMMON
SEQUENCER
LOCATE
PRE 1
A. PIANO
GM
USER
PLG 1
GUITAR /
PLUCKED
BASS
STRINGS
D
E
SLOT 2
SLOT 3
PLG 2
PLG 3
BRASS
REED/PIPE
CATEGORY
SEARCH
BANK
SECTION
GROUP
CH IN LINE (1 – 2)
ON/OFF
VOLUME 4
SEQ TRANSPORT
SF2
SF3
SF4
INC/YES
A
B
C
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
1
2
3
F
G
H
SE
MUSICAL FX
COMBI
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
INFORMATION
SF5
2
ELEMENT/ PERF.PART / ZONE
NUMBER
REC
EDIT
COMPARE
OCTAVE
DOWN
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
JOB
STORE
SCENE STORE
SET LOCATE
F1
F2
F3
F4
F5
F6
EXIT
ENTER
9
10
11
EXECUTE
SOLO
ST CH MIC IN
(CH 3 – 4, 5 – 6)
UP
ST CH LINE IN
(CH 3 – 4, 5 – 6)
Macintosh or PC
Synthesizer etc.
Powered Speakers
PAN
REVERB
CUTOFF
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
KN 2
For Use With
Nominal
KN 4
MEQ HIGH
REMOTE
CONTROL
ON/OFF
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
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
CH IN MIC (CH1 – 8)
Phone Jack (TRS) *3
CH IN LINE (CH1 – 8)
ARPEGGIO
VOICE
PERFORM
SLOT 1
MASTER
DRUM KITS
FAVORITES
PATTERN
FILE
MIXING
UTILITY
DEC/NO
SONG SCENE
SF1
LOCATE
1
PRE 1
PRE 2
A. PIANO
KEYBOARD
PRE 3
ORGAN
COMMON
SEQUENCER
SONG
INTEGRATED
SAMPLING
SF2
SF3
SF4
INC/YES
A
B
C
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
1
2
3
GM
USER
PLG 1
GUITAR /
PLUCKED
BASS
STRINGS
D
E
SLOT 2
PLG 3
REED/PIPE
CATEGORY
SEARCH
BANK
SECTION
GROUP
G
H
MUSICAL FX
COMBI
5
6
7
8
TRACK
SELECT
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
Connector In Mixer
Phone Jack (TRS) *6
Phone Jack (TRS) *6
Phone Jack (TRS) *3
RCA Pin Jack
Phone Jack (TRS) *5
Stereo Phones Jack
12
13
14
15
16
MUTE
INFORMATION
SF5
2
NUMBER
EDIT
COMPARE
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
JOB
STORE
F1
F2
F3
F4
F5
F6
EXIT
ENTER
EXECUTE
SCENE STORE
SET LOCATE
9
10
11
SOLO
UP
MG12/4, MG16/4 INPUT CHARACTERISTICS
PA Monitors
Synthesizer etc.
Connection
CH IN MIC *7
CH IN LINE *7
MIC
ST CH MIC IN *8
Power Amplifier
Guitar etc.
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
Actual Load
Impedance
For Use With
Nominal
3 kΩ
50 – 600 Ω Mics
10 kΩ
600 Ω Lines
3 kΩ
50 – 600 Ω Mics
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
XLR-3-31 type *2
Drums
Compressor
Connection
Actual Source
Impedance
For Use With
Nominal
ST OUT [L, R]
150 Ω
600 Ω Lines
GROUP OUT (1 – 2)
CH INSERT OUT *7
REC OUT [L, R]
C-R OUT [L, R]
PHONES OUT
Multi Effector
Powered Speakers
*1
*2
*3
*4
*5
*6
*7
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
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
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)
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)
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
Output Level *1
Nominal
Max. before Clip
+4 dBu (1.23 V)
+4 dBu (1.23 V)
0 dBu (0.775 V)
-10 dBV (245 mV)
+4 dBu (1.23 V)
3 mW
+24 dBu (12.3 V)
+20 dBu (7.75 V)
+20 dBu (7.75 V)
+10 dBV (2.45 V)
+20 dBu (7.75 V)
75 mW
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
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
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
CH INPUT [A, B] *7
Phone Jack *4
Phone Jack *4
RCA Pin Jack
Phone Jack (TRS) *1
Phone Jack *3
RCA Pin Jack
Connector In Mixer
XLR-3-32 type *2
Phone Jack (TRS) *4
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
Connector In Mixer
MG24/14FX, MG32/14FX INPUT CHARACTERISTICS
Connection
XLR-3-31 type *2
Output Level *1
Nominal
Max. before Clip
Connection
Phone Jack (TRS) *3
MG12/4, MG16/4 OUTPUT CHARACTERISTICS
Graphic EQ
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
MG16/6FX OUTPUT CHARACTERISTICS
Output Level *1
Nominal
Max. before Clip
+4 dBu (1.23 V)
+24 dBu (12.3 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
ELEMENT/ PERF.PART / ZONE
REC
OCTAVE
DOWN
*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.
50 – 600 Ω Mics
ST CH LINE IN *7
SLOT 3
PLG 2
BRASS
F
SE
4
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
-128dB
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)
24 (Input B 1 – 24: TRS)
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/RCA)
2 (Ch 29 – 30, 31 – 32: TRS/RCA)
Insert I/O 16 (Ch 1 – 16: TRS T: Out, R: In, S: Gnd) 24 (Ch 1 – 24: TRS T: Out, R: In, S: Gnd)
Send
6 (1 – 2/Post-Pre selectable, 3 – 4/Post-Pre selectable, 5 – 6/Post: TRS)
AUX
Return
2 Stereo Sub In (L/MONO, R: TRS)
EFFECT
Send
2 (1, 2: TRS)
2TR
In
1 Stereo (L, R: RCA)
STEREO
Insert
1 Stereo (L, R: TRS)
GROUP
Insert
4 (1 – 4: TRS)
REC
Out
1 Stereo (L, R: RCA)
ST
Out
1 Stereo (L, R: XLR)
MONO
Out
1 (XLR)
ST SUB
Out
1 Stereo (L, R: TRS)
GROUP
Out
4 (1 – 4: TRS)
Phones
1 (TRS 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
Power Requirements
100 W 100 V AC50/60 Hz
120 W 100 V AC50/60 Hz
Input Hum & Noise *1
3 kΩ
ST CH MIC IN *7
Phone Jack *4
ON/OFF
SEQ TRANSPORT
0 +1, -3 dB
20 Hz – 20 kHz @ +4 dB 600 Ω (ST OUT)
10 kΩ
XLR-3-31 type *2
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SYSTEM
VOLUME 4
Frequency Response
Crosstalk
Connection
XLR-3-31 type *2
MUSIC PRODUCTION SYNTHESIZER
EFFECT BYPASS
INSERTION
VOLUME 3
MG32/14FX
Less than 0.1 % (THD+N)
20 Hz – 20 kHz @ +14 dB 600 Ω (ST OUT)
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)
TEMPO
KN 3
MEQ LOW MEQLOWMID MEQ HI M ID
VOLUME 2
Actual Load
Impedance
RELEASE
ASSIGN 2
MODE
KN 1
ST CH INPUT
(CH 7 – 8, 9 – 10)
CH INSERT IN (1 – 2)
AUX RETURN [L, R]
2TR IN [L, R]
Connection
A sound reinforcement system of about this scale is ideal for small clubs, churches, meeting rooms and similar venues.
VOLUME 1
Gain
Trim
-60
-16
-34
10
-60
-16
-34
10
MG10/2 OUTPUT CHARACTERISTICS
3. A Small Sound Reinforcement System
ASSIGN A
—
65 mm
290 mm
251 mm
1.8 kg
U: 19 W 120 V/60 Hz
H: 19 W 230 V/50 Hz
B: 19 W 230 V/50 Hz
K: 19 W 220 V/50 Hz
A: 19 W 240 V/50 Hz
Mic Stand Mountable
Mic Stand Adapter BMS-10A
-128 dB
20 Hz – 20 kHz, Rs=150 Ω, Input Gain=Maximum, Input sensitivity=-60 dB *3
-70 dB @ 1 kHz
6 (Ch 1 – 4, 5/6, 7/8: XLR)
10 (Ch 1 – 8, 9/10, 11, 12: XLR)
10 (Ch 1 – 8, 9/10, 11, 12: XLR)
4 (Ch 1 – 4: TRS)
8 (Ch 1 – 8: TRS)
8 (Ch 1 – 8: TRS)
2 (Ch 5 – 6, 7 – 8: TRS) * Ch5, 7: L (MONO) 2 (Ch 9 – 10, 11 – 12: TRS) * Ch9, 11: L (MONO) 2 (Ch 9 – 10, 11 – 12: TRS) * Ch9, 11: L (MONO)
2 (Ch 9 – 10, 11 – 12: TRS/RCA)
2 (Ch 9 – 10, 11 – 12: TRS/RCA)
2 (Ch 9 – 10, 11 – 12: TRS/RCA)
4 (Ch 1 – 4: TRS = T: Out, R: In, S: Gnd)
8 (Ch 1 – 8: TRS = T: Out, R: In, S: Gnd)
8 (Ch 1 – 8: TRS = T: Out, R: In, S: Gnd)
2 (1/Post-Pre selectable, 2/Post: TRS)
2 (1/Post-Pre selectable, 2/Post: TRS)
2 (1/Pre, 2/Post-Pre selectable: TRS)
1 Stereo (L/MONO, R: TRS)
1 Stereo (L/MONO, R: TRS)
1 Stereo (L/MONO, R: TRS)
—
—
1 (TRS)
1 Stereo (L, R: RCA)
1 Stereo (L, R: RCA)
1 Stereo (L, R: RCA)
1 Stereo (L, R: RCA)
1 Stereo (L, R: RCA)
1 Stereo (L, R: RCA)
2 Stereo (L, R: 2 TRS & 2 XLR)
2 Stereo (L, R: 2 TRS & 2 XLR)
2 Stereo (L, R: 2 TRS & 2 XLR)
1 Stereo (L, R: TRS)
1 Stereo (L, R: TRS)
1 Stereo (L, R: TRS)
2 (1, 2: TRS)
2 (1, 2: TRS)
4 (1 – 4: TRS)
1 (TRS Stereo)
1 (TRS Stereo)
1 (TRS Stereo)
+ 48 V
+ 48 V
+ 48 V
44 dB valiable
44 dB valiable
44 dB valiable
80 Hz 12 dB/Octave
80 Hz 12 dB/Octave
80 Hz 12 dB/Octave
10 kHz (Shelving)
10 kHz (Shelving)
10 kHz (Shelving)
2.5 kHz (Peaking)
2.5 kHz (Peaking)
0.25 – 5 kHz (Peaking)
100 Hz (Shelving)
100 Hz (Shelving)
100 Hz (Shelving)
10 kHz (Shelving)
10 kHz (Shelving)
10 kHz (Shelving)
—
—
3 kHz (Peaking)
2.5 kHz (Peaking)
2.5 kHz (Peaking)
—
—
—
800 Hz (Peaking)
100 Hz (Shelving)
100 Hz (Shelving)
100 Hz (Shelving)
7-band
—
—
(125, 250, 500, 1 k, 2 k, 4 k, 8 kHz)
±12 dB (Max.)
—
—
16 Programs: Parameter Control
104 mm
104 mm
108 mm
417.5 mm
417.5 mm
416.6 mm
317.5 mm
423 mm
423 mm
5.0 kg
5.2 kg
5.5 kg
U/C: 27 W 120 V/60 Hz
U/C: 38 W 120 V/60 Hz
U: 51 W 120 V/60 Hz
H: 27 W 230 V/50 Hz
H: 38 W 230 V/50 Hz
H: 51 W 230 V/50 Hz
B: 27 W 230 V/50 Hz
B: 38 W 230 V/50 Hz
B: 51 W 230 V/50 Hz
K: 27 W 220 V/60 Hz
K: 38 W 220 V/60 Hz
K: 51 W 220 V/60 Hz
A: 27 W 240 V/50 Hz
A: 38 W 240 V/50 Hz
A: 51 W 240 V/50 Hz
Rack Mountable
Rack Mountable
Rack Mountable
—
—
—
MG10/2 INPUT CHARACTERISTICS
KNOB
CONTROL
FUNCTION
MG24/14FX
Total Harmonic Distortion
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), PA-20 (MG12/4,16/4), PA-30 (MG16/6FX).
CH IN MIC (1 – 2)
MASTER
VOLUME
Height
Depth
Width
Weight
PC Audio Card
or
Audio Interface
Connection
KNOB
CONTROL
FUNCTION
—
Internal Digital Effect
Dimensions
MG16/6FX
0 +1, -3 dB
20 Hz – 20 kHz @ +4 dB 600 Ω (ST OUT)
Frequency Response
Input Hum & Noise *1
In this simple recording system a
small MG mixer is used to combine
the outputs from a stereo keyboard, a
rhythm/backing unit, a guitar, and
vocal microphone. The results are
mixed to stereo and recorded to
cassette or MD.
MG16/4
Less than 0.1 % (THD+N)
20 Hz – 20 kHz @ +14 dB 600 Ω (ST OUT) *3
Total Harmonic Distortion
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
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
-60
-16
-34
10
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
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
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
CH INSERT OUT *12
GROUP INSERT OUT (1 – 4)
ST INSERT OUT [L, R]
REC OUT [L, R]
PHONES OUT
150 Ω
10 kΩ Lines
0 dBu (0.775 V)
+20 dBu (7.75 V)
Phone Jack (TRS) *5
600 Ω
100 Ω
10 kΩ Lines
40 Ω Phones
-10 dBV (316 mV)
30 mW
+10 dBV (3.16 V)
75 mW
RCA Pin Jack
Stereo Phone Jack
Connector In Mixer
Specifications and appearance subject to change without notice.
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