User manual YAMAHA MG102C

[. . . ] MIXING CONSOLE MIXING CONSOLE Owner's Manual Bedienungsanleitung Mode d'emploi Manual de instrucciones Features Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 10 With up to four mic/line inputs or up to three (four for MG102C) stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 9 Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. AUX Sends and Stereo AUX Return. . . . . . . . . . . . . . . . . . . . . . . . . . . . page 12 You can use the AUX SEND jack to feed the signal sent to an external signal processor, and then return the processed stereo signal through the RETURN jack. High-quality digital effects (MG82CX). . . . . . . . . . . . . . . . . . . page 13, 57 With digital effects built in, the MG82CX can deliver a wide range of sound variations all by itself. Caractéristiques Canaux d'entrée. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 36 Avec quatre entrées micro/ligne ou trois entrées stéréo maximum (quatre pour la console MG102C), la console de mixage MG peut connecter simultanément une grande variété d'appareils : micros, appareils de ligne, synthétiseurs stéréo, etc. [. . . ] 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 musical instruments. Piano Bass Drum Snare Drum Bass Guitar Trombone Trumpet 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) frequency ranges of some Cymbal 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. Some Frequency Facts The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20, 000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3, 000 Hz. The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the "A3" key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i. e. In the same way you can halve the frequency to 220 Hz to produce "A2" an octave lower. Boost with Caution If you're trying to create special or unusual effects, go ahead and boost away as much as you like. But if you're just trying to achieve a goodsounding mix, boost only in very small increments. A tiny boost in the midrange can give vocals more presence, or a touch of high boost can give certain instruments more "air. " Listen, and if things don't sound clear and clean try using cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity. One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise and potentially overloading the subsequent circuitry. MID Boost LOW Boost MID Flat HIGH Boost Signal Level (dB) LOW Flat HIGH Flat LOW Cut MID Cut Frequency (Hz) HIGH Cut 8 MG82CX/MG102C Owner's Manual Mixer Basics Making the Most of Your Mixer Ambience Your mixes can be further refined by adding ambience effects such as reverb or delay. The MG's internal effects can be used to add reverb or delay to individual channels in the same way as external effects processors. (Refer to page 13). Reverb and Delay Time The optimum reverb time for a piece of music will depend on the music's tempo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to up-tempo tunes. Delay times can be adjusted to create a wide variety of "grooves". When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tune's tempo. For chorus and flanging the signal is delayed by several milliseconds, with the delay time modulated by an LFO, and recombined with the direct signal. In addition to the phasing effect described above, the delay modulation causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback used--flanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure. Chorus is most often used to thicken the sound of an instrument, while flanging is usually used as an outright "special effect" to produce otherworldly sonic swoops. 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. With the right amount of compression you'll be able to clearly hear whispered passages while passionate shouts are still well balanced in the mix. Too much compression can be a cause of feedback, however, so use it sparingly. Most compressors require several critical parameters to be set properly to achieve the desired sound. The MG compressor makes achieving great sound much easier: all you need to do is set a single "compression" control and all of the pertinent parameters are automatically adjusted for you. OUTPUT Reverb Tone Different reverb programs will have different "reverb tone" due to differences in the reverb time of the high or low frequencies. [. . . ] An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape. Dimensional Diagrams 256. 6 62. 2 55. 2 2 302. 5 Unit:mm 300 MG82CX/MG102C Owner's Manual 57 Reference Specifications EFFECT/AUX STEREO L RE CH LEVEL [0dBu] [­6dBu] [0dBu] MIC COMP [­6dBu] [0dBu] [0dBu] 3-Stage EQ BA [+4dBu] +48V PEAK RE PAN [0dBu] HA [­60 to ­16dBu] MID TH+GAIN SUM L [­6dBu] HPF BA STEREO STEREO OUT [+4dBu] CH INPUT LOW HIGH LINE 80 GAIN Trim (CH1 to 2) [­34 to +10dBu] [16 to 60dB] INSERT I/O SUM R PEAK RE EFFECT (MG82CX) AUX (MG102C) ST CH LEVEL HA BA [0dBu] [­10dBV] STEREO R LOW MID LOW HIGH Block Diagram and Level Diagram MG82CX/MG102C Owner's Manual PHANTOM BA [0dBu] 3-Stage EQ BAL/PAN R [­7. 8dBu] HIGH BA [­6dBu] [0dBu] [0dBu] 58 L REC OUT [­14dBu] [0dBu] [­34 to +10dBu] MIC HA 80 [­60 to ­16dBu] HPF ST CH INPUT LED METER DR STEREO L (CH3/4, 5/6) HA EFFECT (MG82CX) AUX (MG102C) ST CH LEVEL HA BA DR STEREO R BAL BA MONITOR/PHONES HA [­14dBu] [0dBu] [­6dBu] LINE L/MONO 3-Stage EQ GAIN Trim [­34 to +10dBu] [6 to 50dB] LINE R [­34 to +10dBu] [0dBu] 2-Stage EQ [­6dBu] [0dBu] [0dBu] [0dBu] ST CH INPUT 2-Stage EQ [­16dBu] L (CH7/8) (CH9/10) (only MG102C) [­10dBu] + SUM ­ BA L BA R MONITOR OUT [+4dBu] R EFFECT (MG82CX) AUX (MG102C) + SUM ­ INV RETURN [0dBu] [­6dBu] L/MONO RETURN INV TO STEREO/TO MONITOR [0dBu] [­6dBu] [0dBu] [+4dBu] PHONES [3mW @40ohms] [+4dBu] R INV SUM 2TR IN INV BA L 2TR IN [­10dBV] [­7. 8dBu] only MG82CX EFFECT SEND (MG82CX) AUX SEND (MG102C) [+4dBu] R FOOT SW EFFECT ON/OFF LO [­6dBu] PROGRAM(1-16) DIGITAL EFFECT (DSP) RO EFFECT RETURN IN PARAMETER ON YE MONITOR MIX only MG82CX +30dBu Clip Level Clip Level RETURN [+4dBu] Clip Level +30dBu Clip Level CH EFFECT/AUX [Nominal:­6dB] EFFECT/AUX SEND [+4dBu] Clip Level ST OUT [+4dBu] Clip Level [+4dBu] +20dBu +10dBu CH IN LINE Gain:Min [+10dBu] Clip Level ST CH LINE IN Gain:Min [+10dBu] +20dBu +10dBu MONITOR OUT 0dBu ­10dBu 0dBu ST CH IN [­10dBu] CH Level 2TR IN [­10dBV] ST CH Level [­7. 8dBu] [Nominal:­6dB] ­10dBu ST CH MIC IN Gain:Min [­16dBu] ­20dBu CH IN MIC Gain:Min [­16dBu] ­30dBu CH IN LINE Gain:Max [­34dBu] ST CH LINE IN Gain:Max [­34dBu] RETURN 2TR IN [Nominal:­6dB] ST [Nominal:­6dB] ST CH EFFECT/AUX [Nominal:­6dB] ST CH EFFECT/AUX SEND [+1dBu] REC OUT [­10dBV] [­7. 8dBu] PHONES [3mW @ 40ohms] MONITOR/PHONES [Nominal:­16dB] ­20dBu ­30dBu ­40dBu ­50dBu ­60dBu ­40dBu ­50dBu ­60dBu ST CH MIC IN Gain:Max [­60dBu] CH IN MIC Gain:Max [­60dBu] For details of products, please contact your nearest Yamaha representative 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. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 POLAND Yamaha Music Central Europe GmbH Sp. z. [. . . ]