Yamahaメーカー12/4の使用説明書/サービス説明書
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MIXING CONSOLE Owner’ s Manual MG16/4 MG12/4 Making the Most Of Y our Mixer Pages 6 to 17 E.
MG16/4, MG12/4 2 Precautions — For safe operation — W ARNING ● Connect this unit’ s AC po wer adaptor only to an A C 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.
Precautions MG16/4, MG12/4 3 — For correct operation — ● XLR-type connectors are wired as follows: pin 1: ground, pin 2: hot (+), and pin 3: cold (–). ● Insert TRS phone jacks are wired as follo ws: slee ve: ground, tip: send, and ring: return.
MG16/4, MG12/4 4 Intr oduction Thank you f or y our purchase of the Y AMAHA MG16/4 or MG12/4 mixing console. This mixing console combines ease of operation with suppor t f or multiple usage environments , and is ideal f or SR setups, installed systems, and man y other such applications.
Introduction MG16/4, MG12/4 5 (1) Be sure that the mixer’ s power switch is in the ST ANDBY position. Use only the P A-20 adaptor included with this mixer .
MG16/4, MG12/4 6 Making the Most Of Y our Mix er An Introduction Y ou’ve got yourself a mixer and now you’re ready to use it. Just plug everything in, twiddle the controls, and away you go … rig.
Making the Most Of Your Mixer MG16/4, MG12/4 7 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 u.
Making the Most Of Your Mixer MG16/4, MG12/4 8 1-2. Balanced, Unbalanced—What’ s the Dif ference? In a word: “noise.” The whole point of balanced lines is noise rejection, and it’ s something they’re very good at.
Making the Most Of Your Mixer MG16/4, MG12/4 9 1-3. Signal Levels—Decibel Do’ s and Don’ ts From the moment you start dealing with things audio, you’ll have to deal with the term “decibel” and its abbreviation, “dB”.
Making the Most Of Your Mixer MG16/4, MG12/4 10 Where Y our 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 .
Making the Most Of Your Mixer MG16/4, MG12/4 11 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.
Making the Most Of Your Mixer MG16/4, MG12/4 12 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 blo.
Making the Most Of Your Mixer MG16/4, MG12/4 13 External Ef fects, Monitor Mixes, and Groups 4-1. AUX Buses For Monitor Sends and Overall Ef fects There are a number of reasons why you might want to .
Making the Most Of Your Mixer MG16/4, MG12/4 14 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.
Making the Most Of Your Mixer MG16/4, MG12/4 15 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.
Making the Most Of Your Mixer MG16/4, MG12/4 16 Making Better Mixes 5-1. Approaching the Mix—Where Do Y ou Start? Mixing is easy , right? Just move the faders around until it sounds right? W ell, 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 .
Making the Most Of Your Mixer MG16/4, MG12/4 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.
MG16/4, MG12/4 18 Fr ont & Rear P anels Note: Within this manual, all panel illustrations sho w the MG16/4 panel. 1 GAIN Control Adjusts the input signal lev el. T o get the best balance between the S/N ratio and the dynamic range, adjust the lev el so that the peak indicator ( 2 ) comes on only at about maximum input lev el.
Front & Rear Panels MG16/4, MG12/4 19 6 PRE Switch Selects whether the pre-fader or the post-fader signal is fed to the A UX1 bus. If you set the switch on ( ), the mixer sends the pre-fader signal (the signal prior to passage though channel fader A ) to the A UX1 bus, so that A UX1 output is not affected by the fader .
Front & Rear Panels MG16/4, MG12/4 20 1 ST Master Fader Adjusts the signal lev el to the ST OUT jacks. 2 GROUP 1-2 F ader Adjusts the signal lev el to the GROUP OUT 1 and GR OUP OUT 2 jacks. 3 T O ST Switch If this switch is on ( ), the mixer sends the signals processed by the GR OUP 1-2 fader ( 2 ) onto the Stereo bus.
Front & Rear Panels MG16/4, MG12/4 21 8 Level-Meter Signal Switc hes (ST -GROUP T oggle Switch and 2TR IN Switch) These lev el-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 lev el meter .
Front & Rear Panels MG16/4, MG12/4 22 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.
Front & Rear Panels MG16/4, MG12/4 23 8 RETURN L (MONO), R Jacks These are unbalanced phone-type line input jacks. The signal receiv ed by these jacks is sent to the Stereo bus and the A UX1 and A UX2 buses. These jacks are typically used to recei ve a return signal from an external ef fector (reverb, delay , etc.
MG16/4, MG12/4 24 Setting Up (1) Before connecting to microphones and instruments, be sure that all devices are turned of f. Also be sure that all of the mixer’ s channel faders and master control faders are set all the way do wn.
Setting Up MG16/4, MG12/4 25 ■ Sound Reinfor cement for Live P erformance ( ) ST AUX 1 ( PRE ) ST DI DI Microphones Monitor Speakers (Internal) P ower Amp Effector Synthesizer Effector Bass Guitar C.
Setting Up MG16/4, MG12/4 26 ■ Mounting the MG16/4 (1) T wo metal rack-mount supports are screwed onto the unit. Use a screwdri ver to remov e these supports. (2) T urn 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.
MG16/4, MG12/4 27 Appendix ■ General Speci fi cations Where 0 dBu = 0.775 V and 0 dBV = 1 V 1 Measured with 12.7 kHz, – 6 dB/oct. low pass fi lter (equivalent to 20 kHz, – ∞ fi lter). (CH MIC INPUT to ST , GROUP OUT/A UX, EFFECT SEND) 2 T ur ning P AN/BAL to left or right.
Appendix MG16/4, MG12/4 28 ■ Input Speci fi cations Where 0 dBu = 0.775 V and 0 dBV= 1 V * Input sensitivity: the lowest le vel that will produce the nominal output le vel when the unit is set to maximum gain. ■ Output Speci fi cations Where 0 dBu = 0.
Appendix MG16/4, MG12/4 29 ■ MG16/4 ■ MG12/4 Dimensional Diagrams 393 31.5 309.6 D 416.6 H 108 101.3 3 W 423 428 27.5 480 When mounted on rack 317.
Appendix MG16/4, MG12/4 30 Block Diagram and Level Diagram.
For details of products, please contact your nearest Y amaha or the authorized distributor listed belo w . Pour plus de détails sur les produits, v euillez-vous adresser à Y amaha ou au distributeur le plus proche de v ous figurant dans la liste suiv ante.
M.D .G., Pro Audio & Digital Musical Instrument Division, Y amaha Corporation © 2002 Y amaha Corporation V981800 210CRCR5.3-01A0 Printed in China Y amaha Manual Library http://www2.
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