User manual YAMAHA MG124CX-MG124C

[. . . ] MIXING CONSOLE MIXING CONSOLE Owner's Manual Bedienungsanleitung Mode d'emploi Manual de instrucciones Features Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 12 With up to six mic/line inputs or up to four stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 10 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 14 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 (MG124CX). . . . . . . . . . . . . . . . . page 16, 17 With digital effects built in, the MG124CX can deliver a wide range of sound variations all by itself. Caractéristiques Canaux d'entrée. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44 Avec six entrées micro/ligne ou quatre entrées stéréo maximum, la console de mixage MG peut connecter simultanément une grande variété d'appareils : micros, appareils de ligne, synthétiseurs stéréo, etc. [. . . ] 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 MG124CX/MG124C Owner's Manual 9 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 16). 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. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. [. . . ] before clipping +24 dBu (12. 3 V) Connector Specifications XLR-3-32 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone Jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) RCA pin jack Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Stereo phone jack STEREO OUT (L, R) +4dBu (1. 23 V) GROUP OUT (1, 2) EFFECT/AUX (AUX1, 2*) SEND CH INSERT OUT (CHs 1-4) REC OUT (L, R) 150 150 75 600 150 100 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40 Phones +4dBu (1. 23 V) +4dBu (1. 23 V) 0 dBu (0. 775 V) ­10 dBV (0. 316 V) +4 dBu (1. 23 V) 3 mW +20 dBu (7. 75 V) +20 dBu (7. 75 V) +20 dBu (7. 75 V) +10 dBV (3. 16 V) +20 dBu (7. 75 V) 75 mW MONITOR OUT (L, R) PHONES OUT Where 0 dBu = 0. 775 Vrms and 0 dBV= 1 Vrms * The MG124CX feature is described first, followed by the MG124C feature in brackets: MG124CX (MG124C) 68 MG124CX/MG124C Owner's Manual Reference Specifications Dimensional Diagrams 86. 1 346. 2 79. 6 2 436. 6 Unit: mm 433. 9 MG124CX/MG124C Owner's Manual 69 Reference +48V PEAK RE SUM BA ON CH Fader [0dBu] [­10dBu] ST [0dBu] Specifications RE AUX *1 EFFECT *1 STEREO L STEREO R GROUP 1 GROUP 2 PFL L PFL R PFL CTRL MID LOW (CH1 to 4) [­34 to +10dBu] HIGH LOW MID HIGH LOW HIGH [­6dBu] 70 PAN G1-2 [0dBu] GROUP Fader GROUP OUT BA [+4dBu] SUM BA PRE [0dBu] PHANTOM MIC [-10dBu] [0dBu] HPF 1 HA [­60 to ­16dBu] HPF COMP 3-Stage EQ CH INPUT YE [0dBu] TO ST INV INV AUX *1 2 [­6dBu] PFL [­6dBu] LINE EFFECT *1 [0dBu] PEAK RE +15V GAIN Trim [16 to 60dB] TH+GAIN [0dBu] INSERT I/O [0dBu] [­34 to +10dBu] ST [0dBu] MIC ON [0dBu] PRE [­10dBu] BA [0dBu] [0dBu] HA CH Fader [0dBu] HPF BAL/PAN G1-2 STEREO Fader R SUM BA SUM BA [0dBu] [­10dBu] L ST OUT [+4dBu] [­60 to ­16dBu] HPF 3-Stage EQ ST CH INPUT YE [­14dBu] [0dBu] (CH5/6, 7/8) HA LINE L/MONO AUX *1 [­34 to +10dBu] BA GAIN Trim EFFECT *1 PFL STEREO/GROUP [0dBu] [0dBu] +15V [­14dBu] [6 to 50dB] Block Diagram and Level Diagram MG124CX/MG124C Owner's Manual L R REC OUT [­10dBV] [­7. 8dBu] HA 3-Stage EQ LINE R LED METER DR [­34 to +10dBu] ST [0dBu] ON [0dBu] [­10dBu] PRE BA [0dBu] CH Fader [0dBu] [0dBu] [­16dBu] BAL G1-2 [0dBu] SUM SUM MONITOR/PHONES INV HA [0dBu] 2-Stage EQ L MONITOR OUT [+4dBu] INV L YE [­14dBu] SUM SUM AUX *1 ST CH INPUT BA R DR (CH9/10, 11/12) [­10dBu] HA 2-Stage EQ EFFECT *1 PFL +15V [­6dBu] [­14dBu] R LED METER PHONES [3mW @ 40ohms] L/MONO ST SUM [0dBu] INV AUX SEND *1 [­6dBu] BA [0dBu] RETURN AUX *1 TO STEREO/TO MONITOR 2TR IN SUM [0dBu] [­14dBu] AUX SEND *1 EFFECT SEND *1 [­6dBu] BA [+4dBu] [+4dBu] INV R EFFECT SEND *1 [+4dBu] L [­6dBu] [0dBu] 2TR IN INV [­10dBV] [­7. 8dBu] R INV EFFECT RETURN LO [­10dBu] BA [0dBu] FOOT SW EFFECT ON/OFF PROGRAM (1-16) RO BA PARAMETER AUX [­14dBu] DIGITAL EFFECT (DSP) PFL ON YE +15V IN *1 MODEL MG124CX MONITOR MIX MG124C FUNCTION NAME AUX AUX1 EFFECT AUX2 only MG124CX +30dBu Clip Level RETURN [+4dBu] CH AUX *1 [Nominal:­6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level GROUP OUT [+4dBu] Clip Level STEREO OUT [+4dBu] MONITOR OUT [+4dBu] RETURN 2TR IN [Nominal:­6dB] AUX SEND *1 [Nominal:­6dB] REC OUT [­7. 8dBu] GROUP Fader [Nominal:­10dB] STEREO Master [Nominal:­10dB] PHONES [3mW @ 40ohms] MONITOR/PHONES [Nominal:­16dB] Clip Level +30dBu +20dBu +10dBu 0dBu ­10dBu ­20dBu ­30dBu +20dBu Clip Level Clip Level Clip Level +10dBu CH IN LINE Gain:Min [+10dBu] ST CH IN LINE Gain:Min [+10dBu] 0dBu 2TR IN [­10dBV] CH Level [­7. 8dBu] ST CH Level [Nominal:­10dB] ­10dBu CH IN MIC Gain:Min [­16dBu] ST CH IN MIC Gain:Min [­16dBu] ­20dBu ST CH IN [­10dBu] ­30dBu CH IN LINE Gain:Max [­34dBu] ST CH IN LINE Gain:Max [­34dBu] ­40dBu EFFECT RETURN [Nominal:­10dB] ST CH AUX *1 DSP AUX [Nominal:­6dB] ­50dBu ­60dBu CH IN MIC Gain:Max [­60dBu] ST 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. [. . . ]