Adjusting Level And Tone - Yamaha MG166 Owner's Manual

4
Step

Adjusting Level and Tone

Level Adjustment
1
The first step is to set the level controls on
all instruments and other sources appro-
priately.
2
Adjust the channel GAIN controls so that
the corresponding PEAK indicators flash
briefly on the highest peak levels.
3
Engage the ON and ST switches of the input
channels that you would like to record.
4
Make sure that the PFL switch is off ( ),
and that the MONITOR switch is set to STE-
REO ( ).
5
Raise the STEREO OUT Master fader to the
0 dB position.
6
Set the channel faders to create the
desired initial balance while monitoring via
headphones or monitor speakers. The
overall headphone level is adjusted by the
MONITOR/PHONES control.
GAIN control
PEAK
indicator
ON switch
PFL switch
ST switch
Channel fader
Tone Adjustment
The MG mixer's compressors, 3-band equalizers and digital
effects make it easy to shape the tone of independent
channels to achieve the best possible mix.
The MG166CX-USB has built-in digital effects. Refer to
NOTE
"Use the Built-in Digital Effects to Refine Your Mixes" on
page 14 and "Digital Effect Program List" on page 23 for
details.
MONITOR/PHONES control
STEREO OUT Master fader
MONITOR switch
MG206C-USB/MG166CX-USB/MG166C-USB Owner's Manual
Compression
One form of compression known as "limiting" can, when
properly used, produce a smooth, unified sound with no
excessive peaks or distortion. A common example of the use
of compression is to "tame" a vocal that has a wide dynamic
range in order to tighten up the mix. Compression can also
be applied to guitar tracks to add extra sustain. Too much
compression can be a cause of feedback, however, so use it
sparingly.
OUTPUT
Equalizer Tips
The best advice that can be given regarding equalization
while recording is simply to use as little equalization as possi-
ble. If you want a little more presence you can turn the HIGH
end up a bit. Or you can boost the bass a little if you feel the
low end is lacking. During recording it's better to use EQ
sparingly for compensation only.
●
Cut for a Cleaner Mix
For example: pianos have a lot of energy in the mid and
low frequency ranges that you don't really perceive as
musical sound, but which can interfere with the clarity of
other instruments in these ranges. You can basically turn
the low EQ on piano channels all the way down without
changing the way they sound in the mix. You'll hear the dif-
ference, however, in the way the mix sounds more "spa-
cious," and instruments in the lower ranges will have better
definition. Naturally you won't want to do this if the piano is
playing solo.
The reverse applies to kick drums and bass guitars: you
can often roll off the high end to create more space in the
mix without compromising the character of the instru-
ments. You'll have to use your ears, though, because each
instrument is different and sometimes you'll want the
"snap" of a bass guitar, for example, to come through.
The fundamental and harmonic
some musical instruments.
Piano
Bass Drum
Snare Drum
Bass
Guitar
Trombone
Trumpet
20 50 100 200 500 1 k 2 k
Fundamental: The frequency that determines the basic musical pitch.
Harmonics: Multiples of the fundamental frequency that play a role in
determining the timbre of the instrument.
Mixer Basics
Quick Guide
(Min)
(Max)
INPUT
frequency ranges of
Cymbal
20 k ( Hz )
5 k 10 k
9