Related Manuals for Yamaha 12/4
Summary of Contents for Yamaha 12/4
- Page 1 MIXING CONSOLE Owner’s Manual MG16/4 MG12/4 Making the Most Of Your Mixer Pages 6 to 17...
- Page 2 Installation Connect this unit’s AC power adaptor only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard. Do not allow water to enter this unit or allow the unit to become wet.
- Page 3 The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. • This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires) Influence on cell phone usage Using a cell phone (mobile telephone) near this unit may induce noise.
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Page 4: Table Of Contents
Thank you for your purchase of the YAMAHA MG16/4 or MG12/4 mixing console. This mixing console combines ease of operation with support for multiple usage environments, and is ideal for SR setups, installed systems, and many other such applications. Please read through this Owner’s Manual carefully before beginning use, so that you will be able to take full advantage of the mixer’s superlative features and enjoy trouble-free operation... -
Page 5: Before Turning On The Mixer
Before Turning on the Mixer (1) Be sure that the mixer’s power switch is in the STANDBY position. Use only the PA-20 adaptor included with this mixer. Use of a different adaptor may result in equipment damage, overheating, or fire. (2) Connect the power adaptor to the AC ADAPTOR IN con- nector ( ) on the rear of the mixer, and then turn the fas-... -
Page 6: Making The Most Of Your Mixer
Making the Most Of Your Mixer An Introduction You’ve got yourself a mixer and now you’re ready to use it. Just plug everything in, twiddle the controls, and away you go … right? Well, if you’ve done this before you won’t have any problems, but if this is the first time you’ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes. -
Page 7: Place For Everything And Everything In Its Place
A Place For Everything and Everything In Its Place 1-1. A Plethora Of Connectors—What Goes Where? Questions you’re likely to encounter when setting up a system for the first time might include “Why all these different types of connectors on the back of my mixer?” and “What’s the difference?”. Let’s start by taking a look at the most common connector types. -
Page 8: How Do Balanced Lines Reject Noise
Making the Most Of Your Mixer 1-2. Balanced, Unbalanced—What’s the Difference? In a word: “noise.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. - Page 9 –10 or +4 dB. Be sure to set these switches to match the level of the connected equipment. Inputs that feature a “Gain” control—such as the mono-channel inputs on your Yamaha mixer—will accept a very wide range of input levels because the control can be used to match the input’s sensi- tivity to the signal.
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Page 10: Where Your Signal Goes Once It's Inside The Box
Making the Most Of Your Mixer Where Your Signal Goes Once It’s Inside the Box At first glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal flows in any mixer. Here’s a greatly simplified block diagram of a generic mixer to help you become familiar with the way these things work. -
Page 11: The First Steps In Achieving Great Sound
The First Steps in Achieving Great Sound Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are properly set for each individual source. This can’t be stressed enough—initial level setup is vitally important for achieving optimum performance from your mixer! Here’s why …... - Page 12 Making the Most Of Your Mixer 3-2. Level Setup Procedure For Optimum Performance Now that we know what we have to do, how do we do it? If you take another quick look at the mixer block diagram you’ll notice that there’s a peak indicator located right after the head amplifier and EQ stages, and therein lays our answer! Although the exact procedure you use will depend on the type of mixer you use and the application, as well as your personal preferences, here’s a general outline: That’s basically all there is to it.
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Page 13: External Effects, Monitor Mixes, And Groups
External Effects, Monitor Mixes, and Groups 4-1. AUX Buses For Monitor Sends and Overall Effects There are a number of reasons why you might want to “tap” the signal flowing through your mixer at some point before the main outputs: the two most common being 1) to create a monitor mix that is separate from the main mix, and 2) to process the signal via an external effect unit and... -
Page 14: Using Groups
Making the Most Of Your Mixer 4-2. Using Groups Group buses and faders can greatly simplify the mixing process—particularly in live situations in which changes have to be made as quickly as possible. If you have a group of channels that need to be adjusted all together while maintaining their relative levels, grouping is the way to go. -
Page 15: Channel Inserts For Channel-Specific Processing
4-3. Channel Inserts for Channel-specific Processing Another way to get the mixer’s signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually “break” the mixer’s internal sig- nal path. -
Page 16: Making Better Mixes
Making the Most Of Your Mixer Making Better Mixes 5-1. Approaching the Mix—Where Do You Start? Mixing is easy, right? Just move the faders around until it sounds right? Well, you can do it that way, but a more systematic approach that is suited to the material you’re mixing will produce much better results, and faster. - Page 17 Spread them Out! Position your instruments so they have room to “breathe,” and connect in the most musical way with other instruments. Sometimes, however, you’ll want to deliberately pan sounds close together, or even right on top of one another, to emphasize their relationship.
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Page 18: Front & Rear Panels
Channel Control Section Channels 1 to 8 (MG16/4) 1 to 4 (MG12/4) (Monaural) Note: Within this manual, all panel illustrations show the MG16/4 panel. MG16/4, MG12/4 Front & Rear Panels 1 GAIN Control Channels 9/10 to 15/16 (MG16/4) 5/6 to 11/12 (MG12/4) (Stereo) 2 PEAK Indicator 4 Equalizer (HIGH, MID, and LOW) - Page 19 6 PRE Switch Selects whether the pre-fader or the post-fader signal is fed to the AUX1 bus. If you set the switch on ( the pre-fader signal (the signal prior to passage though channel fader ) to the AUX1 bus, so that AUX1 output is not affected by the fader.
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Page 20: Master Control Section
Front & Rear Panels Master Control Section MG16/4, MG12/4 1 ST Master Fader Adjusts the signal level to the ST OUT jacks. 2 GROUP 1-2 Fader Adjusts the signal level to the GROUP OUT 1 and GROUP OUT 2 jacks. 3 TO ST Switch If this switch is on ( by the GROUP 1-2 fader (... - Page 21 8 Level-Meter Signal Switches (ST-GROUP Toggle Switch and 2TR IN Switch) These level-meter switches, together with the channel PFL switches, select the signal that is sent through the C-R/PHONES control to the C-R OUT jacks, the PHONES jack, and the level meter. The following illustration shows how the switch settings corre- spond to the signal selection.
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Page 22: Rear Input/Output Section
Front & Rear Panels Rear Input/Output Section 1 Channel Input jacks • MIC jacks (MG16/4: CHs 1 to 8, 9/10, 11/12. MG12/4: CHs 1 to 4, 5/6, 7/8) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). • LINE jacks (MG16/4: CHs 1 to 8. MG12/4: CHs 1 to 4) These are balanced TRS phone-type line input jacks (T: Hot;... - Page 23 8 RETURN L (MONO), R Jacks These are unbalanced phone-type line input jacks. The signal received by these jacks is sent to the Stereo bus and the AUX1 and AUX2 buses. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.). These jacks can also be used as an auxiliary stereo NOTE input.
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Page 24: Setting Up
Setup Procedure (1) Before connecting to microphones and instruments, be sure that all devices are turned off. Also be sure that all of the mixer’s channel faders and master control faders are set all the way down. (2) For each connection, connect one end of the cable to the rele- vant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer. -
Page 25: Sound Reinforcement For Live Performance
Setting Up I Sound Reinforcement for Live Performance Monitor Speakers (Internal) Drums Power Amp Effector Microphones CD, Cassette, or DAT Synthesizer Recorder Bass CD Player Effector Guitar Microphones Power Amp Guitar Headphones Main Speakers (External) Example of Speaker Arrangement Stage (Internal) AUX 1 ( PRE Audience (External) -
Page 26: Rack Mounting
Setting Up Rack Mounting I Mounting the MG16/4 (1) Two metal rack-mount supports are screwed onto the unit. Use a screwdriver to remove these supports. (2) Turn the supports over, and fasten them into place again using the same screws. (3) Mount the unit into the rack, and fasten it into place. -
Page 27: Appendix
Specifications I General Specifications Frequency Characteristics Total Harmonic Distortion Hum and Noise Maximum Voltage Gain Monaural/Stereo Input Gain Control Monaural/Stereo High Pass Filter Crosstalk (1 kHz) Monaural/Stereo Input Channel Equalization: Max. Variation Monaural/Stereo Input Peak Indicator Level Meters Phantom +48 VDC Power (Balanced input) Included Accessory Power Supply Power Consumption... - Page 28 Where 0 dBu = 0.775 V and 0 dBV= 1 V Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
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Page 29: Dimensional Diagrams
Dimensional Diagrams I MG16/4 H 108 101.3 I MG12/4 W 423 W 322 317.4 Appendix When mounted on rack When mounted on rack MG16/4, MG12/4... -
Page 30: Block Diagram And Level Diagram
Appendix Block Diagram and Level Diagram MG16/4, MG12/4... - Page 31 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
- Page 32 Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2002 Yamaha Corporation V981800 210CRCR5.3-01A0 Printed in China...