MG Series

MG Series
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 7 – 8, 9 – 10: TRS:Phone/RCA:Pin)
1 (Ch 7 – 8: TRS:Phone/RCA:Pin)
2 (Ch 9 – 10, 11 – 12: TRS:Phone/RCA:Pin)
2 (Ch 9 – 10, 11 – 12: 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
Mic Stand Mountable
Foot Switch Jack (ON/OFF)
Mic Stand Mountable
Rack Mountable
Foot Switch Jack (ON/OFF)
Rack Mountable
Rack Mountable
Rack Mountable
Option
Mic Stand Adapter BMS-10A
Mic Stand Adapter BMS-10A
Foot Switch FC5
—
Foot Switch FC5
—
—
*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.
*3 (CH,12): MG10/2, (CH1-4): MG12/4, (CH1-8): MG16/4, MG16/6FX.
*4 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
Input Hum & Noise
20 Hz – 20 kHz, Rs=150 Ω, Input Gain=Maximum, Input Pad =OFF, Input sensitivity=-60 dB
Crosstalk
-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
*1
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
F
G
H
SE
MUSICAL FX
COMBI
E
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
SECTION
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
GROUP
INFORMATION
SF5
2
ELEMENT/ PERF.PART / ZONE
REC
NUMBER
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
REC
NUMBER
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
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